I know I have original ideas and that’s not what I’m concerned about. What does concern me is that without a proper education in screenwriting I may not be able to fully express my ideas in a way that will excite Producers to stop and take notice. However, if all I do is worry about starting too soon, I may pass up on the opportunity I’ve been looking for. Do you think it’s better to wait until I’m able to head back to school, or should I throw all caution to the wind and go for it? I’m really mixed right now and any advice would be greatly appreciated. Hope your week’s been well and if you don’t get a chance to respond, I understand. Life can be so hectic!

Screenwriting Compass:

Original ideas is actually what should be your main concern. If you watch movies and you think you have great ideas, and going to school is too expensive, then don’t go to school for screenwriting. I think if you are going to school, you should go to school and study other subjects other than screenwriting. You can easily figure out the structure of a script by reading the dozen of screenwriting books out there. I’m also sure, there is someone giving a weekend seminar on the format of screenwriting, for the fraction of the price of going to college for screenwriting.

My advice, don’t spend the money on schooling. Go read some great books and most importantly… start writing.

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I have wrote a comedy that is pretty high concept and have started another. Here is the log line for both, just trying to get an idea from someone in the indusrty.

1. Two best friends with opposing views of women find themselves “breaking up” with one another when one’s sturggle to get over his ex-girlfriend turns desperate… Or do they?  The Break  Up meets I Love You, Man.

2. A pair of ex-cons on work release go undercover for the FBI  to bust a drug lord.  Bad Boys II meets Dumb and Dumber.

I have been pitching those ideas without representation to a lot of companies, and I seem to be making a lot of progress with them. I have  even some bigger ones that like the ideas, but this is where I am catching the heat. “The project sounds good, who is your agent?” My reply is I don’t have an agent, and they get back to me with we can’t take it unsolicited so try getting an agent to send it over.

I thought I would also throw in there that I am cold calling these places. Thought you might like the hustle!

What do I do with this?

Screenwriting Compass:

So this question can be broken down in 2 or even 3 parts. The first part is, do you really need an agent to get production companies to look at your script, and the other two questions are looking at your logline.

So here’s what it really means when a company tells you they can’t take unsolicited material after they have read your logline. It means they aren’t interested, and that’s a good way of sending you away. Rather than telling you, “your loglines aren’t great, leave me alone.”

In your case, your loglines do sound high concept, but not unique enough. So the question from the production company asking if you had an agent, was maybe to filter this script out. If you had an agent, they would have thought that the script was well executed and would have requested it. Hell, if it’s good enough for an agent, then it’s good enought for a producer.

Remember one thing. Everyone can take unsolicited material if it’s good enough. The question is being able to get it into the proper hands. And like I have always said, a good piece of writing will always find it’s way through this town.

So for the 2nd and 3rd part of this answer, lets just look at your loglines. I can’t tell you what every producer or agent is going to say, but I can tell you what I think when looking at these loglines… and I get 100 loglines a day sent to me.

“1. Two best friends with opposing views of women find themselves “breaking up” with one another when one’s sturggle to get over his ex-girlfriend turns desperate… Or do they?  The Break  Up meets I Love You, Man.”

First off, I had to read this logline 2 times to even understand it. That’s not a good sign. Toss in a spelling error in “sturggle” and you are already on the DELETE path for whoever is reading this. The best thing about this logline are the two movies you compare it to, but aside from that, the logline is hard to understand. You have two ideas here. They are “breaking up” with each other… and then they are trying to get over an ex-girlfriend. This logline needs to be cleaner.

Your 2nd logline:

“2. A pair of ex-cons on work release go undercover for the FBI  to bust a drug lord.  Bad Boys II meets Dumb and Dumber.”

So this logline just sounds too generic. It could be a good movie, and could be fun, but this is the type of logline that an exec would read if and agent sent to them, because it’s going to depend on the execution of the script. If the exec is familiar with the writer, and they know the writer can write funny scenes, then they will read. But from an unknown writer, a query letter, it’s going to be tough. When you have “ex-cons” and “drug lords” as keywords in your logline, that’s a sign of something pretty generic.

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I have partnered with someone in L.A. to develop a sitcom. What makes it interesting is that my partner is a long time session player for a very popular recording artist. The name opens a lot of doors. But neither of us have any WGA credits. But similar to the story of many established writers, execs are saying they like it, but pass on it. We have been trying to do this ourselves and I’m now wondering if we should find an agent or try to develop a relationship with a director or other film insider?

Screenwriting Compass:

The TV world is different from the film world. Not being a WGA member does not make a difference in terms of selling a project. In fact, a lot of execs like finding undiscovered talent and telling their bosses. There are great bragging rights for execs in being able to tell the town they were the ones who discovered that diamond in the hay stack.

So here is one common mistake people make with projects. I see it all the time, and not just with writers but with a lot of producers. Everyone in town keeps talking about “packaging” projects. A lot of people think this means add as many elements as you can to your project. However this is not true. You have to add the “right” elements. There are certain actors that studios, networks, financiers want to be in business with. And it varies from buyer to buyer. Having an agent handling your project is always the best thing, because if they are good, they will be able to tell you who makes sense where. Sometimes, some networks or film financiers are so specific with people they want to be in business with, that they aren’t always the obviuos choices. If you can find out who these people are, and somehow get to them, then that will really help push your project. On the other hand, adding the wrong element, can add “baggage” to your project and will make it an even tougher sell.

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A big producer with good credits likes one of my ideas.  She doesn’t have a discretionary fund, but she does have a deal with a big studio.    She encourages me to write this idea into a new spec, and wants to help develop it. My question:  is there any point in tying a producer to an idea at this early stage in the project?  Sure, she’s big time, but why not just spec it out and go wide with it?  If she liked the idea, she’ll still be interested, right?   Or is there some value in having the producer attached from the get-go?

ScreenwritingCompass:

I imagine this is an idea that you have brought to a producer, and not one that the producer has brought to you. 10 years ago, I would have told you to just write this without the help of the producer so that when you are done with it, you can go out wide to the town and sell it. That was back when ideas sold on their own. Nowadays, it takes a good idea and good execution.

The answer to this question depends on several factors including what stage of your career you are at. Are you a new writer? Have you sold a lot of screenplays? If you are an accomplished writer and feel you can write this on your own, then that’s what you should do. However, if you are a newer writer, there is benefit in attaching a producer early on and writing on spec for them.

The reason for including the producer early on is to have her help you develop the project. Your agent might not have the time and probably can’t develop a script as well as a producer can. Sure, you may have writing buddies who can read your script and give you notes, but from my experience that has never been a reliable method. You need an executive who actually knows how to sell scripts helping you develop, or a manager or agent who has the time.

If you don’t include the producer early on, sure they will still be interested in the script, but you won’t have the benefit of a well executed script, and that is a big plus. Another reason you may want a producer early on, is that they can be a big plus in packaging the script. While you are writing, they will be taking meetings with talent, and this can be a project they bring up during their meetings with talent.

There are a lot of different variables to think about before commiting. Another variable is the genre. If the idea is so high concept and you feel that the execution is not going to be that difficult, then it may be worth you doing on your own. And one last thing, if you are going to write on spec for a producer, it may be worth checking other producers as well. There may be another producer who is better at packaging than the current one or has more juice at the studio.

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Do you think it’s worth it for a 20-year-old like me, to move from my country, Portugal, to LA or somewhere close, to follow the dream of writing screenplays?

I mean, if that’s a tough world to the american writers, isn’t it even tougher for a foreign boy to do well in the movie world? Or if you’re really talented, it doesn’t matter?

I’d appreciate an honest answer, it’s very important to me.

ScreenwritingCompass:

I wouldn’t move from Portugal to the US just yet. It is very possible to become a successful screenwriter here while living in another country. It’s harder, but it can still happen.

The first thing you need to do is write a good screenplay and follow the advice from my previous blog entries. Another thing you can do in Portugal, is send your screenplay to Portuguese production companies and try and get your screenplay produced there. European films tend to be slower than American films, but if you can write a film that can work for both your country and the US, the film will be in a great position to come to the US as a remake – which are very hot in the US.

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I work with a popular actor and their people who shall remain nameless, but from being closely involved with them and others, one thing I’ve learned is that most people in the industry can be quite selfish and unhelpful.

Here’s my problem. I’ve recently completed a screenplay and it’s highly marketable. To be honest, I’ve done my actor friend’s management team numerous free favors over the years and have recently asked them for my first ever return favor, to consider taking a look at my screenplay, and possibly helping me find an agent if nothing else. Their response is silence. The problem isn’t that they’re reading it and disliking it, it’s that they’re not reading it at all. Such is the life of a writer I suppose.

Thing is, I’ve not written my life story, which ironically is quite dramatic but I’m not arrogant enough to think it’s gonna fill seats. I’ve not written a little indie, nor a cliche horror flick or comedy. I’ve written a unique big budget action/thriller. I’m not the kind of writer who throws 100 slices of bologna at the Hollywood wall hoping one sticks. Majority of my ideas are specifically high concept, and this script I’ve completed is ready to move, I just need wheels to move it. Right now I’m on blocks though, lol. But the first person to help me out, will see great benefits, from this and my future works. There’s a lot of talented writers out there and I’m not saying I’m the best, I’m simply saying that I can make people money. I just need to find someone who will read my work. So how do I do that when I’ve exhausted all options and get no responses to query letters? I know unsolicited works are ignored because I’ve been in the position for my actor friend to receive and ignore them myself, lol.

If you have any idea what I should do now, it’d be appreciated. I’m literally at a loss. Thanks so much.

ScreenwritingCompass:

You should feel lucky that you are in this situation. Most writers trying to break into Hollywood don’t know anyone in the business. If you are not able to have ANYONE read your script, then that would be something you should work on. I’m not talking about execs, but you should have other writers to support you on your journey. I know a lot of writers that are part of writing groups and they get together a few times a month to discuss what they are working on and they read each other’s scripts. This is something that is going to help you out, because as commercial as you think your script is, it may also be too generic. That’s the funny thing about the industry. As cookie cutter as the studios want scripts, they also want them unique and fresh.

The fact that you are friends with an actor and you help out his reps should be a clear way to get them to read. Here’s the second part, and you have to realistic about who your actor friend is. Is your actor friend at a big agency? Is your actor friend maybe at a boutique talent agency where they don’t even have a lit department? Is your actor friend important to that agency? If your friend is an important client, they should have read it. You need to ask them once a week. Get your actor friend to call for you as well. If nothing is being done, you can bet that your friend is at the bottom of the pile.

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I am a new writer represented by one of the big agencies.   However, I’m worried it’s more of a writing sample than a big-concept seller. Still, my agent believes in the script and has targeted 10-15 Oscar-type producers who he thinks may dig the material, and will hopefully take it to studios.  My question:  how long does this process take?    How quickly will a producer read a script submitted by an agent from a well-known agency?

More importantly, if these producers all balk at the script, will my agent totally lost interest in me as a client?

ScreenwritingCompass:

A lot of great questions here. The first thing to address is that you should be feeling comfortable asking your agent these questions, and he or she should not have any problem answering them.

I can tell right away that this is an independent film since your agent is targeting Oscar-type of producers. You should feel lucky that a big agency took this on. Remember, agents at big agencies have a lot of big clients and have to focus on projects bringing in money. This sounds like it’s going to take a lot of work, which means your writing must be really good.

In terms of how long is this process going to take… it will vary. Had you told me you wrote a comedy, a thriller, an action, something commecial, I would have told you that all of this will take one week. However, with an independent script, it’s going to depend on the strategy your agent takes. Your agent may be targeting 15 producers, but since it’s an independent script, your agent may want to approach one producer at a time so that if they respond, he/she can lock in that producer and then get the producer to package the script with talent. If this is the case, get ready to wait several weeks to several months. Now, if your agent decides to treat this script as a usual spec, then it will take around a week to get responses. In terms of the length of time it takes for a producer to read doesn’t vary that greatly. A smaller agency can get the reads approximately the same time the bigger agency can, because it’s all about the material. Of course, if your agent has a reputation for sending out garbage, then you may be waiting a bit longer.

I hate to break it to you, but that’s the price you pay for being at a big agency. If the producers balk at your script, your agent most likely will lose interest in you, since he/she has so many other clients to attend to.

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ScreenwritingCompass:

These are completely different times we are living in. Had you asked me this question several years ago, I would have given you a different answer, but the way the marketplace is today, I will answer it as follows.

Currently, Universal says they are out of money. WB says they are out of money. Sony is running out of money. It feels like we are back to a writers strike, since most of the projects the studios are buying are either big properties (Barbie, Sweet Valley High) or projects with attachments.

Going out wide with a spec isn’t always the best thing. Sure it gets you exposure, but would you prefer exposure over a sale?

If your agent wants to target a single producer there could be a variety of reasons.

1) He isn’t confident with the script and wants to take a “test run” with a producer.

2) He knows the current state of the marketplace and wants to get a producer on board to help package the script.

So the answer to your question is yes, it makes sense. By giving to one producer, hopefully that producer will help package your script and then can sell it to the studio.

Good luck!

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In the current market, in which specs are not selling, and every new project that takes off if based on a preexisting intellectual property. Is it useful to pepper a spec with known elements/characters in the public domain? Take for example that script “Galahad” which launched its author’s career. It’s a spec, but built around a re-imagining of the Arthurian Legends. The material comes with a built-in factor of pre-awareness; everyone heard about Galahad, Camelot, etc.

Is a spec like this more attractive to buyers than a spec which is 100% original? It this a viable strategy for the new writer to pursue?

Screenwriting Compass:

This is a genre of its own. The question here is really, can you write a script like this? This is almost like asking should I be writing a comedy spec?

There have been a lot of specs in the marketplace that have gone out like this, and some have sold and most have not. There are a lot of 3 Musketeer specs that went out and actually there are a few in development. There have been a bunch of 20,000 League Scripts that went out and there are some in development. The key is finding a public domain name that isn’t in development, and that can be very tough to find since Hollywood has milked these titles…and will probably continue to do so.

Adapting these titles for today’s audience is challenging. If this is not your forte, then you shouldn’t be doing this. If you are good at doing this and write a great one, does it add value? Yes, it add’s a little value, but remember, scripts in this genre tend to be period pieces and very expensive.

Now remember, writing something in the public domain is different than writing something based on pre-exisiting properties. This always adds value. I’m referring to toys, comic books, video games, etc etc. The key is how successful is that pre-exisiting property. And I bet, for most of you new writers, getting one of these is going to be very difficult.

So if you are good at adapting material, then this may be right for you. If not, then continue to writer your own original screenplays.

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