You finally have: about 110-115
entertaining pages of original characters, plot and dialogue and a solid pitch
with supporting “creative” (logline, pitch, beat sheet, outline, etc. – any
written work representing your project). Now it’s time to shop – and ideally
sell – your script.
Targeting Potential Buyers
Before you begin approaching everyone
you meet at events, conferences and mid-city cafés to let them know you have a
script, take a moment to identify the companies and individuals who are the
best fit for your project.
Platforms
One of the first things to consider is
what is the proper platform for your project? If it is an IMAX-3D blockbuster,
that defines and limits potential buyers. If it is a small, dialogue-driven,
quirky character piece with a specific niche audience, it may be a better fit
for a cable network sale than a major motion picture studio. From theatrical
releases, to broadcast and cable television, to digital distributors, take time
to read the trades (traditional entertainment and technology publications) to
see where projects like yours are getting deals. This also is a great question
when you do get a moment with a film professional at an industry event, for
example: “What would you consider the best platforms for a low-budget,
independent feature comedy about female jockeys?”
Partners
Once you have a clearer sense of
possible platforms for your work, it will help you define potential partners.
That might include producers, production companies, directors, actors and
studios that have recently released and profited from projects similar to
yours. Similarities might include: lead character demographics, target audience
demographics, worlds (e.g., futuristic sci-fi, period dramas, etc.), genres
(broad male comedies, broad female comedies, broad children’s comedies, etc.)
and more. Constantly follow the trades for who has development deals, how
similar films have fared at the box office and other indications that your
creative indicates profitability, personal connection or both for a partner
before you approach them.
Brand Mandates
Production companies, networks, studios
and talent (actors, directors, writers and producers) often have “brand statements”
defining their target content. Of course, because the time period can be so
long between a project’s green light and its theatrical release, what a given
partner currently has in theaters may be very different from its current slate
in production, which may be very different from what the development team is
looking for today! Top-level agencies are always in the loop of current content
mandates, but if you aren’t repped by one of those firms, keep an eye on the
trades for content-related announcements, set online alerts for news about
potential partners and, again, capitalize on meeting industry professionals by
asking what their current content mandate is.
I’ve said that when you pitch, your job
is to entertain and engage the room. However, no amount of passion or persistence will
help you if you’re pitching content that is completely off-brand for a
potential buyer! Even if the
buyer is a personal friend, when s/he pitches your project up to the check
writers, it has got to match the content mandate for that company.
Shopping Your Script
In
order to reach a buyer, you have to begin the often lengthy screenplay submissions
process. In industry speak, there are two types of direct submissions: “repped”
and “unsolicited.” The former is the industry standard (but certainly not the industry
norm since it is so hard to get an agent)! The latter is absolutely taboo; you
must not send or present any creative (logline, synopsis, pitch or script) to
anyone that hasn’t specifically agreed to receive it. Ever. Instead, concentrate on “un-repped” submissions through an
industry relationship or competition.
Regardless
of where you submit your script, you may be asked to sign a legal waiver or
release acknowledging yours is one of many potentially similar stories the
company may receive. You may be resistant to waivers, but you now understand
how extremely likely it is that others have written screenplays in a similar
space as yours. Of course, you’ve completed the work in this book, so you can
ask yourself how many others have written a structurally sound screenplay?
Also, having done all of that work, selling a script no longer is a fantasy or
luck-of-the-draw possibility to you. Instead, it is the next step in an
established process. Therefore, you are only submitting to reputable,
industry-leading companies. You will have an entertainment attorney review the
waiver, and you will decide if you want to sign and submit.
Agency Submissions
The
industry standard process is to have a literary
agent represent your script to potential buyers. Of course, finding an
agent may take as long as or longer than writing the actual script. You
absolutely can do “blind submissions” to agencies that allow them, which often
includes signing a waiver or release, as well. Since agents use story analysts,
too, you will be dropped into a reader’s stack, and any meeting with that agent
will be determined by their coverage of your script. If you’ve successfully
completed the final rounds of “1-3-5” weekend analyses on your screenplay, you
have a shot at making it past coverage to a meeting.
Repped Submissions
Ideally,
an agent (or, if it’s accepted, a reputable entertainment lawyer or manager) will
submit your script to production companies and studios. Reps have the pull to
get you into the reading pile at those companies. You might have to do another
round of “polishing” for your rep! Do it – notes should be light by now, and
you want your rep invested in the sell.
Once
your rep has submitted the script, check in every two weeks or so, so they will
remember to check on your script. Also, look for news articles or events that
support the timeliness of your script to share with your rep.
If
the script is a “pass,” see if your rep can get a copy of the coverage. Then address the notes in another draft. And,
of course, find out if you are a “consider” or “recommend” as a writer so your
rep can get you in for a meeting or at least get another work of yours read as
soon as possible.
Un-Repped Submissions
If
you can’t get an agent, work your contacts (inside and outside the industry) to
see who knows someone at a production company or studio. Without an agent, again,
you’ll usually sign a release before anyone will read your work. But you have an
attorney and a copyright, remember?
Also
investigate reputable writing programs,
screenwriting competitions and submissions sites that send winning
scripts to CEs and reps or are judged by them. Be clear what options and rights
you are assigning if you win and keep a copy of all rules, regulations and
releases.
Finally,
do the rounds at industry gatherings
and professional organizations to learn
who might be looking for your type of script or open to receiving un-repped
submissions. At least try to get your script submitted for coverage, so you can
get professional feedback. If it’s an amazing script, it will be kicked up to a
CE. If it’s not, it will be returned to you with helpful coverage…and you may
not be entered into the deadly database. As always, read the feedback, and address the notes.
For
more professional resources for all of the above, be sure to visit PlanetDMA.com.
Unsolicited Submissions
Once
again, with emphatic insistence, I am telling you not to mail, email, text,
online submit, casually mention or otherwise present any part of your creative
to anyone in the industry who hasn’t expressly agreed to receive it. That
includes sending unsolicited loglines, synopses, pitches or screenplays to me –
do not do it. That is not how the business works! Instead of advancing your
cause, it may get your content dumped into the real or virtual trash and, at
worst, get you blocked from ever submitting legitimately.
You
don’t show up at a car accident hoping someone will let you try your hand at
surgery because you’ve always dreamed of being a doctor. And you don’t randomly
send unsolicited content around Hollywood because you’ve always dreamed of
being a professional writer. You’ve done the hard work this far to create the
“show.” Stick with it and do the expected work for the “business” part of the
process.
The Offer
You did it. You submitted your
structurally sound, utterly sellable screenplay, and you got an offer!
Your
first move? Go get some champagne, sparkling cider or Juicy Juice (if you’re as
young as Hollywood wants you to be). But don’t guzzle it just yet! Your next
stop is your attorney.
Do not ever do a deal in Hollywood by
yourself. Don’t e-mail friends or list-servs and
ask for a sample deal to save a dime. Don’t ask your cousin the divorce
attorney to review the contract. Hire an entertainment attorney... who has done
contracts for films you have heard of…and eat the cash to pay for a contract
negotiation. The money you pay now…is the money you will not lose out on later.
Of
course, if this is a first sale, your negotiating power will be pretty much
zero. You may not even get to do a first rewrite or be paid more than Writers
Guild minimum for a fee. But if you know you have the next genre-busting
blockbuster on your hands…and your rep is shopping it to multiple buyers to
start a bidding war…the right buyer will know it, too. And they will play ball
with your attorney.
Either
way, you will be in the database at last, a “Recommend/Recommend.” It’s time to
crack open The “1-3-5,” start your next screenplay and take that now familiar
90-minute drive to Ventura. But it will be in a much nicer car.
Now
go fill up your glass, mug or sippy cup. And congrats.
THE ROAD TO “RECOMMEND”
|
P |
Pledge #6:
I crafted a solid story
then developed distinct characters, beat out the script and fleshed out a
strong treatment before writing four drafts of my script and dutifully
addressing the note-ridden areas. When I submitted my script, I got an option
or sale offer, and my attorney is negotiating it as I speak. I contacted DMA
to share my good news, and I will commit to the same process again on my next
script. Thanks, “1-3-5.” |