You’ve read various “Pitfall Alerts” throughout The “1-3-5” structure and
story process in this book. Now, as you prepare to sell your screenplay, you also
want to be aware of common danger zones in the writing process and after.
Collaboration
For
people who are crazy enough to collaborate on a screenplay…none of the rules of
writing change. The only difference is now two or more of you will be arguing
over what the theme, arc and spine are and how best to translate those into
captivating actions and fresh dialogue. It does not often speed up the process
to bring a second point of view and personality into the writing mix! Yes,
there are some very successful writing teams out there, but try not to tackle
this often tricky situation for your first submission.
When
is it a great idea to collaborate on
a first submission? When one person is exceptional at storytelling and the
other is exceptional at tone and dialogue. Split the project 50/50 and give
each other the space to do what each of you does best.
When
it’s time to copyright the work, Form PA has space for multiple authors and a
description of what each contributed to the work.
One
final thought. Do not ever post a
listing in the want ads or an online site saying you have a “great idea” and
just need a writer to “execute it” for some nominal fee or fifty percent of the
sale. You should know now that a “great idea” isn’t even a small portion of
“executing” a sellable screenplay. If you have a “great idea” and no ability to
execute it yourself, then, sadly, you bring nothing to the writing table. You
are not a “writing partner” unless you are writing the story or the script.
So
either hire a writer to craft a structurally sound story and script (congrats, you
are now a producer)…or take on the challenge of writing according to The
“1-3-5” and see how well you truly can do following the system.
If
you are a writer, do not respond to such listings without making your stance as
the owner of the work clear. If someone cannot pay you, it’s fine to write “on
spec,” with the clarification that you retain all rights to what you’ve written.
But there is no reason ever to sign a
“Work for Hire” agreement for free! “Work
for Hire” means someone else owns what you wrote. Don’t even agree to “Work for
Hire” for a fee without hiring an experienced industry attorney to review and
negotiate the terms. If you are not being offered enough money to more than pay
for that attorney… you are being low-balled. Run! If you are not sure what kind of money to even
compare your offer to, check the Writers Guild of America’s “Schedule of
Minimums.”
Regardless
of the circumstances, before you begin writing anything with or for anyone,
please define everyone’s exact commitment and responsibilities – including the
number of rewrites! – in a written contract. (Even if you know a “polish” from
a “punch,” always have an entertainment attorney prepare this agreement – we
offer a database of attorneys for our members on PlanetDMA.com.) And, of
course, copyright your work when you are done. If a sale ever is made, part of
that deal will be to transfer your copyright to the new owner of the work
(e.g., the studio that distributes it).
Attachments (aka “Elements”)
Don’t
have any.
An
attachment is a person or entity contractually bound to the sale of your
screenplay. For a first submission, unless one of the current top five movie stars or directors in the world wants to do
your script, any other attachment might cost you a deal if the buyer doesn’t
love them (or even know them!) as much as you do. Remember, the entities who
buy scripts often have their own relationships with talent they are seeking
projects for.
Of
course, if one of the current top five movie stars or directors in the world really
wants to do your script…they probably have their own production company or deal
and will buy it themselves.
Concessions
Sometimes
before a company offers to buy your screenplay, they will ask you to make major
changes to your script. These almost always have to do with that company’s
marketing vision…or that company’s relationships with talent they want to
attach to your script. There is no simple answer for this.
If
you have just written Alien and your
male lead is too obvious a survivor…you might have Sigourney Weaver starring in
your first blockbuster studio release. If you have just written Akeelah and the Bee and part of the sale
requires that your Black mentor be changed to a white mentor, you might say “no”…and
have Oscar®-nominee Laurence Fishburne starring in your independent studio
release. Who’s to say which choice is best?
You
are the one who must say. This is where you decide if you want to sell a screenplay…or sell your screenplay. Take into account who
stands behind your script as it currently exists and what doors might open or
close if you change or maintain your current version. To “1-3-5” it, ask
yourself what are your stakes…and what’s in jeopardy? Then accept the outcome
of the choice you ultimately make.
Just
know that if you wrote one screenplay that got to a point of final negotiation,
if nothing else, your next screenplay is probably going to make it into the
weekend pile at that company.
Close Calls
If
your submission makes it to a face-to-face meeting, then to more meetings, even
to notes and a contract offer…but ultimately the script doesn’t sell, your
instinct might be to give up on the script and on writing itself. Or you might
declare that those people are idiots and continue to shop the script elsewhere.
Both
are bad choices.
First,
any information on why the script was rejected can only help you in your next
submission. If the story wasn’t a match for the first company’s needs, you
can’t fix that. But if the script itself had problems, and they will share
those with you, you can fix those issues before shopping it to a new place. If
they won’t talk to you, ask for a copy of your coverage. If they say no…well,
that’s typical. Move on (or commission private coverage to see what can be fixed).
Second,
if you made it to meetings but no sale, you are in the database as a
“recommend” – use your momentum while you have it! Immediately begin writing or developing a second script to submit to
the same company.
And
I’m sorry that the first sale didn’t go through.