Advice for budding Screenplay writers

Written by Andi:

The prospect of writing and selling a screenplay in Hollywood brings images of success, fame and fortune dancing into our imagination. Rags to riches stories abound in the Film Capital, usually serving the purpose of stirring up exciting PR. Writing a screenplay is one of the most difficult crafts to master in the film industry. It can take years of study and practice to produce even one acceptable project worthy of consideration for production. And it could take years, even decades before your script makes it to the screen…. if it ever makes it to the screen. If you are an aspiring writer, here is some information and a list of pointers to consider when creating and selling a screenplay.

1. A good screenplay starts with a good story. Original stories are preferred.

2. Learn the craft of screenwriting. It has its own style and rules.

3. Know and understand the following:

a. Story structure and its elements (at least know the Classic Structure)

b. Character and Development

c. Genres

d. Visual writing

e. Subplots and Beats

f. Constructing the scene

g. Writing dialogue (writing good dialogue is very difficult)

h. Moral and Psychological elements

i. Action and Events

4. Know how to analyze a script. It will make you a better writer. Concepts, premise/theme, motivation, pace, style, are some of the things you look for when engaging in script analysis.

5. Know basic writing skills: spelling, grammar, and punctuation. Know the exceptions to these rules, notably with dialogue, i.e. dialects, slang, etc.

6. Know the proper structure of scripting: margins, tabs, spacing, numbering scenes. This is the indicator whether someone is a pro or an amateur writer. This can also land your script right in the wastebasket. One glance flipping through script pages can be the determining factor for some producers when deciding if they will read the script. Chances are if the author doesn’t know how to put it on the page, he or she doesn’t know how to write. There are rare exceptions.

7. Research. What ever you present in your story should be accurate. If you mention that July 7, 1947 is on a Wednesday, it better be. Someone, somewhere will check it out. This is in addition to researching names, places, etc. that is required by the studio or production company that buys your script. If your script is full of inaccuracies, you’ll have a tough time making the sale and making future sales. The professional screenwriting community is a small one, and your reputation will stick with you.

8. Ask everyone to read your script, ask for feedback, but don’t expect an honest assessment. Your family and friends will tell you your script is great. Truly great scripts in Hollywood are numerous, good scripts are a dime a dozen, bad scripts are overwhelmingly abundant. You can pay a professional script analyst to read it and give you feedback, but it is only their professional opinion. Consider what they have to say to you regarding changes (you might learn something), but in the end, it is your script and your decision as to the changes that are made. Also, just because it may not be a great script doesn’t mean it wouldn’t be a successful movie, and vice versa. I know a script reader who gave a script a "pass" because the story didn’t follow proper "Hero’s Journey" story structure. The film was produced anyway and enjoyed great success. The Lion King. You need to read as many scripts as you can. There are scripts posted online. Look for their strengths and weaknesses. Look for the problems in your own script.

9. Be willing to rewrite. When you sell your script, retain rewrite options. Usually 3 rewrites are negotiated. If it is not to their liking at that point, they can bring in another writer. Then your script is no longer in your hands. If you refuse to allow rewrites, expect your script not to be produced, or you will have to produce it yourself. Even the greatest scripts go through a few changes before it gets to the screen.

10. Keep in mind your audience and the budget. The practical things count when writing a film. If you write for a narrow audience, there is less of a chance you will get your script produced. If it will cost too much to produce, you will have the same problem.

11. There are exceptions to every rule. Being in the right place at the right time can be the factor that gets your script produced.

12. Always work at improving your skills. Read, take classes, and go to workshops, seminars, conferences and conventions. Self-education is an ongoing lifetime endeavor. Read the industry trades, including Written By, The Hollywood Reporter, Variety, and Back Stage West.

There is a whole world of business when it comes to selling and producing screenplays.

If you don’t know the details of it, then you need an agent. Here’s the catch 22. It’s tough to get an agent unless you have had material produced. It’s tough to get material produced unless you have an agent. You will have to navigate that paradox and find a way to get one of your scripts produced (including the possibility of doing it yourself).

1. To find an agent, start by calling literary agencies and asking if they are looking for writers to represent and if you can send in a script. Ask first. Don’t send in your script unsolicited. Some agencies only represent certain genres. Submit your script exactly the way they ask you to submit it. If they tell you they are not interested, then don’t send it in. Call them again in 6 months and ask again. Demand changes over time.

2. Some production companies only accept scripts through agents. Other production companies accept scripts directly from the writers. Call and ask the production company first. Most companies, for legal reasons, will return unsolicited scripts to the sender unread.

3. Even though you have an agent, you will have to work at finding someone to buy your screenplay. The agent will negotiate the deal for you once someone is interested in buying the script. Ask your agency what responsibilities will be theirs and what will be yours.

4. Be professional and well mannered. It is acceptable to be creative in Hollywood, to be eccentric, to be…. unusual. But the more professional you are, the better chance you have of being successful. The more level headed you are, the better chance you have. Empty sales pitches are the norm out here, so you better have something good to sell. Even if they are not interested in the script you have, they might like your next script. If they know you can conduct yourself professionally, you will be invited back time and time again.

When your script is on the market, there are numerous factors that influence a sale.

1. The current audience taste is a major influence. There is a major change in Hollywood going on regarding audience taste.

2. Attachments to a script can be good or bad. Attachments are things that go along with the sale. Perhaps a certain director has agreed to direct your script. If his or her last film was a success, that can be a good attachment. If the film was not successful, it can be a bad attachment. Producers, directors, actors, specialty crafts people can be some of the various attachments to a script.

3. The cost of your script will influence the sale. You might not make anything for the first script you get produced. The sale price of your script will be determined by the success of your previous script and/or how much profit the producers think they may be able to make from producing your script. You might have to agree to be paid on the tail end. Here is where having an agent comes in handy. They will negotiate the deal for you.

4. There isn’t one set rule of how to sell a script. Every sales story is different. Just get out there and try to get your script into as many hands as possible. Be honest regarding what your script is and is about. Otherwise you might be wasting valuable time. Don’t claim that it is the next classic epic if it is really a TV movie of the week. Many actors have their own production companies that look for scripts for them to star in. If you have a script that would be a good project for a particular actor, call their production company and ask about script submission procedures.

5. Studios cut deals with producers all the time. In exchange for producing a film today, they will get to work with a particular actor’s project tomorrow. Your script may or may not fall within the needs of the producer or studio. That is not a reflection of your script. It just means it doesn’t fit the parameters of the deal that is already established -- that you may never know about. Independent producers may or may not have similar deals influencing the decision of what films they produce.

6. You should know a few techniques regarding protecting your script. Although idea theft doesn’t happen as much as it used to, it does happen. Know what to say and what not to say during a meeting with a producer. Know what the proper follow up for the meeting is in order to protect yourself. If you sell a script, make sure it is going to be produced (your agent will negotiate various options). There are unscrupulous people out here. A couple of things to look out for…. production companies sitting on your script. They will take months to read it to prevent you from taking it to their competition. Meanwhile, a similar script they have is rolling right along toward production. Someone will buy your script outright….to make sure it does not get produced. Then their own script is left on the market to be produced. You will be told your script is not good (to discourage you) while they have a similar script and don’t want you to compete against them. Novice writers get excited and love to tell their story ideas. Experienced writers know how they can legally take the ideas and utilize them for their own benefit. I know a novice writer who told someone an idea for a science fiction story. The plot line ended up on a well-known science fiction TV show. He had done nothing to protect his idea and lost out on thousands of dollars in income. Don’t discuss any ideas unless you have taken steps to protect them – steps that will hold up in court.

7. Don’t make demands when you are working on selling your first scripts. Knowing the industry will help you know what you should ask for and what you can’t ask for. When a screenplay is produced, the producer will be faced with DGA, SAG, WGA, etc., issues. The more you know about film production overall, the more it will help you sell your script.

Some production companies will only consider producing scripts written by members of the Writers Guild of America. They are professional writers and are protected by the WGA in various matters. When WGA films are produced, there are various restrictions that must be adhered to. WGA also negotiates pay scales. Find out what it takes to be in the WGA and what services they offer. Read their magazine. They also offer a script registry. You send in your script, they will register it for a small fee and place your script in storage. Your script will be available for producers to read, and registering your script assists in the event any legal conflicts arise regarding when the script was written, who has ownership, etc. Contact the WGA and ask about this service. By the way, members of the WGA are the most produced writers, and they are a very valuable resource -- and your competition.

Learn about other groups and organizations. There are many you can find online. Some offer to list your script synopsis, offer software programs, books, reading services, and more. Be selective about what groups you join. Joining reputable organizations can benefit your career.

Just remember. Writing screenplays may be new to you, but this is an old business. Good luck!