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Screenwriting
101
SO YOU WANT TO BE A SCREENWRITER:
Do you have what it takes?
1. A great story that can be told in 120 pages or less?
2. The ability to withstand constant rejection?
3. The willingness to allow others to rewrite your script without
your permission?
4. A desire to make a lot of money?
If you answered yes to at least the first two questions (let's face
it, question #3 is tough, but it's a reality) you are well on the
path to success as a screenwriter. If you answered yes to the final
question, you're in for a rude awakening. The Writers Guild of America
revealed in a recent report that a writer has a better chance of
making a million dollars playing the California lottery than making
a million selling scripts. The average yearly salary for writers
is under $20,000. Now do you still want to write screenplays? Read
on.
AS GOOD AS IT GETS:
Just when you thought WRITING the screenplay was tough, now try
selling it. Some of you naively mail it to the big three agencies
(ICM, CAA and WMA) and to the studios only to have it returned with
a big red stamp on the unopened envelope that reads: "WE DO NOT
ACCEPT UNSOLICITED MATERIALS." Some of you have called all the agents
listed on the Writers Guild of America Agency List only to have
a surly assistant say; "Not taking on any new clients" before slamming
down the phone.
The
most difficult part of the process is getting someone, anyone in
the industry to read your screenplay. If you thought it would be
quick, easy and painless, LEAVE THIS WEB SITE NOW! Become a daytrader
or play the lottery, getting a script made into a movie is Mission
Impossible. Of the tens of thousands of screenplays registered each
year with the Writers Guild of America, only a few hundred are ever
produced.
One
thing that most produced screenplays have in common is that they
were good enough to get the attention of someone with the power
to say, "yes." In other words, you better make sure your script
is the best it can be before you go for your 15 minutes of fame.
You only get one shot in this business, there are no second chances,
unless of course you're John Travolta.
THE
INDUSTRY STANDARD:
A
feature length screenplay is 90 - 130 pages and printed on white
paper with black type. The professional screenplay is bound with
three round head brass fasteners
and a simple cardstock cover.
Anything else is considered UNPROFESSIONAL. Do not submit a screenplay
in a loose-leaf binder or bound with screw posts, velobinding or
spiral binding. Unless you are Ron Bass, Rain Main or Richard
Lagravenese, Bridges of Madison County, don't even think
of submitting a handwritten screenplay in a composition notebook
or a yellow legal pad. Agents and producers take their jobs seriously
and expect writers to do the same. The only acceptable font is 12pt
COURIER which is standard on all screenwriting software. If you
want your script read, FOLLOW THE RULES.
WRITING
IS REWRITING
First
drafts are embarrassing. The dialogue is clunky and half the scenes
don't make sense. No matter how good a writer you think you are
DO NOT SEND AGENTS AND PRODUCERS A FIRST DRAFT! Write the script
over and over again until you get sick of it. Put it away for a
month then rewrite it again. Don't cheat on the rewrite by simply
writing polishes of the first draft. Turn the script inside out
and upside down. Examine all possibilities and be EXTREMELY HONEST
with yourself. Show the script to friends and family and allow them
to tell you the truth. Don't get mad at people who say that they
didn't like or understand your screenplay. THOSE ARE THE PEOPLE
YOU NEED TO LISTEN TO! Sure, your Mom just loves it, but she's YOUR
MOM! That agent or producer you want to send it to doesn't know
you from Adam and if he hates your script, he won't lie to you like
your Mom.
READ
IT OUT LOUD
Get
a group of your friends or visit a local community theater group
in your area and see if you can set up a script reading. No need
to spend any money here, this is just an opportunity for you to
HEAR how the script plays. It can be done in the privacy of your
home or you can stage it, but the purpose is to make sure that the
script works at some level. This step is not absolutely mandatory,
but it does help improve the rewrite.
RESEARCH
IS KEY
Okay,
so you are ready to submit the screenplay. It's been rewritten to
the point where you hear it and you don't feel embarrassed or think
to yourself, 'Well, I can fix that later.' The script is ready for
the industry and you are confident that you've done the best job
possible. Your script will not appeal to ALL agents and producers.
Individual agents and producers have genre preferences and what
is hot today may not be what they are looking for tomorrow.
In
your initial contact with an agent or producer, by query letter
or over the phone, you must be able to provide enough information
so that they can make an informed decision about whether to read
your script. Know your genre, your main characters and try to have
some idea about the potential budget. No need to be an expert here,
just know whether the script fits into the comedy, drama, action,
thriller, and horror or sci-fi genres.
Have
a general idea about whether the film will feature 20-something's
or veteran actors. Is it a small film or a big budget Hollywood
blockbuster? The Writers Guild of America minimum is the most the
writer of a small film can expect which will almost guarantee rejection
from agents since 10% commission on WGA minimum only adds up to
a four figure payday. There are a number of independent production
companies looking for smaller films and will "pass" on a big budget
project. As a general rule, if your script is a small, personal
tale, query independent producers. If it is a big budget screenplay
with wide audience appeal, look for an agent.
QUERY
LETTERS vs. PHONE CALLS
Cold
calling is tough and is often ineffective since agents and producers
will say the same thing, "Write us a query letter." The query letter
is your first opportunity to make contact with an agent or producer.
Make sure you write it short and to the point. Present your idea;
say a little about yourself, just like you would on the cover letter
of a resume. Waiting time can be quite long with agents and producers
averaging about three to six weeks before they get back to you…
if they get back to you. Let's face it, most agents and producers
will recycle your letter without opening it. Don't bother calling
and harrassing people, move on. There are hundreds of agents and
producers out there and all you need is just one.
SENDING
IN THE SCRIPT
Is it in proper script format?
If not, expect to be rejected. Agents
and producers do not read scripts,
their assistants do. The job of the assistant is to take home stacks
of screenplays at night and on the weekends, read them and write
coverage which is what the agent or producer reads. Now, if you
do not format the script properly, forget it.
What
assistants find annoying are LONG DESCRIPTIVE PASSAGES, TYPOGRAPHICAL
ERRORS and SCREENPLAYS OVER 120 PAGES. Make sure your description
is spare, less is more. There is no excuse for typographical errors
since every word processing and script formatting program on the
market features spell checking. You're not Paul Thomas Anderson,
Magnolia, so if your script is longer than 120 pages, start
chopping and be ruthless.
PROTECT
YOURSELF
Producers
will usually ask a writer to sign a release form before reading
a screenplay. The release form protects them in case they produce
a similar project. You want your script read so sign the form. Just
make sure it is a standard release form and not a modified release.
You don't want to sign over your soul along with your first born,
etc., etc. Use common sense and gut instinct. If the producer seems
shady, he probably is.
DO
NOT PAY ANYONE TO READ YOUR SCREENPLAY! There are so many scams
out there, so if an agent or a producer asks you to pay a reading
fee, DON'T. If you found the agent on the Writers
Guild of America List of Agents, report them IMMEDIATELY.
It is against the Writers Guild Minimum Basic Agreement [WGA MBA]
which stipulates that member agencies and producers cannot charge
reading fees. If the agent is not a WGA signatory, do not submit
the script and move on. Make sure any agent you query is a signatory
to the WGA MBA. Independent producers usually are not signatory
to the WGA MBA, but as long as they do not charge fees, you can
submit to them. Just be careful and make sure to read everything
or consult a lawyer before signing.
THE
WAITING GAME
While
you wait start on something else. Agents and producers will always
ask, "What else have ya' got." If you have nothing, they think you're
a "one script wonder." Always have two or three other ideas ready
to pitch and at least one script ready. That way you can still keep
them interested in you since no one sells a first screenplay, well,
unless of course you're Callie Khouri, Thelma & Louise.
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a question? Get an answer. Ask
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