Schellhardt Laura. Screenwriting for Dummies
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Cold calls work in much the same way as a letter does. Ask for the agent
directly; tell the secretary what the call is about. If he says that the agent is
too busy to speak to you now (which is probably true), ask whether there’s a
better time to call back. He might let you leave contact information. If he says
that they don’t accept unsolicited work, tell him what the work is about and
ask whether there’s any place he might suggest calling instead. You never
know what’s going to work. Whatever the outcome, be courteous and kind.
If you do get an agent on the phone, go through the steps of a query letter.
Tell her who you are, pitch the film, and ask the agent’s permission to send
it. If the agent asks where you’re located, be sure to emphasize that you’d be
happy to travel as necessary. If the agent says that she’s not interested, ask
whether she’d like to hear about the other film you’re writing (if you have
one). If she refuses the script, ask for suggestions on where else to send it
and then thank her for her time. Do you see that pattern here? Always thank
agents for their time. You may be calling them again later.
You may have heard success stories about writers who’ve stopped by an
agency and convinced agents to glance at their scripts that day. Those sto-
ries are less and less common. Most big agencies have security, and you’ll
never see the office without an appointment, let alone the agent. You also
run the risk of looking desperate, which will turn the agent off immediately.
Query letters and phone calls are much more likely to curry you favor.
Pitching Your Script without an Agent
Waiting to hear from an agent doesn’t mean that your career is on hold. Many
scripts are sold without representation, so you should also be pursuing at
least one of the following options:
Independent producers (Indies): Independent producers run small com-
panies of their own, work for larger studios on a project to project basis,
or are able to find financial backers for projects that they option.
Actors or directors: These individuals may read a script and shop it
around for you, or they may have production companies of their own.
A private attorney: Many companies will accept an attorney cover letter
in place of an agent’s. Legal representation suggests that you’re serious
about the script and its success, but you know the business better than
some. Often, you pay the attorney up front for this service, but some
attorneys will negotiate a larger fee should the script be purchased as a
result of their help.
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Private financiers: This group includes grant committees, state commis-
sion departments, film festivals, and wealthy individuals who are willing
to finance a film.
Executives in these groups are more likely to consider unsolicited scripts,
though referrals never hurt. The primary difference between them lies in
what they’re after. Producers are looking for films to boost their production
companies or writers who match projects they have in mind. Actors and
directors want scripts that will boost their careers. Private financiers are
looking for worthwhile projects and sound investments. Note these different
needs in advance and plan your marketing strategies accordingly.
Here’s what you need to pitch on your own:
At least one polished feature-length script, preferably two or three.
A teaser or story pitch for any script you have. You’ll want copies of
these taped to your phone in case you receive an impromptu call.
Your nutshell synopsis (see Chapter 5) and a detailed treatment
(Chapter 19). You may be asked to submit them in place of a script.
A query letter tailored to the individual buyer. Mention other work the
production company has done, and make sure that actors and directors
know that you believe the project is well suited to their talents. This
technique may feel phony, but you’re approaching them for a reason. Let
them know what it is.
A standard release form that you feel comfortable signing.
What’s a release form? Industry executives are wary of unsolicited material,
in part, because they fear lawsuits. If you submit material and their company
produces something later with a similar theme, you could sue them for theft.
A release form, or a submission agreement, absolves them of responsibility
should such a scenario occur. It’s not the best agreement for a writer. If you
sign an agreement and they do steal your work, there may be little you can
do. However, few studios will even look at your work without a release, so
more often than not, you’ll have to comply. Most executives will accept a
standard form that you draw up with an entertainment attorney, or they’ll
send you a copy of the release form they’ve drafted with theirs..
Avoid signing anything that asks you to agree on a selling price before they
purchase the script. In fact, avoid signing anything without consulting an
attorney. Some release forms ask you to agree not to sue them should an
identical script crop up in this process. The pain it may save you later is well
worth the cost of consultation.
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After your paperwork’s in order, you approach these backers in the same way
that you approach an agent:
Call or send a query letter.
Send the script, outline, or synopsis when they request it.
Make follow-up calls to make sure that your letter/script arrived, and
after a month, call for a progress report.
Send a written thank-you note to anyone who agrees to read your work.
Your script will probably go to a reader for coverage. If the backers want to
meet you, you’ll receive a call. If they can’t use your material at the moment,
you may or may not receive word back. Remember to still write during this
process. Writing helps the wait and produces more material to shop around.
Don’t let rejection affect your work.
What to Do When They Say Yes
If you’re persistent enough, eventually, you’ll land a meeting with someone.
Arrange a time with that person’s secretary, thank her again, and celebrate.
You’re one step closer to a career in film. Meetings with agents vary slightly
from meetings with executives. After all, these individuals want different
things. Luckily, you’ll be prepared for both.
Meeting with an agent
If an agent agrees to meet with you, she’s already interested in something. It
may be your current script, it may be your writing potential, and it may be
something in your query letter. Either way, she’ll need more information
before signing you up. Be prepared to discuss the following items:
What else you’re working on. You should have one or two more pitches
ready when this comes up.
What genres or markets interest you the most. Are you drawn to thrillers
or romantic comedies? Would you be interested in writing for sitcoms or
cable television? Is there anything you’re uncomfortable writing?
Your willingness to relocate. You certainly don’t have to move to L.A. to
write, but an agent will ask. If you’re willing to relocate for the perfect
job, tell them that. If not, make sure that they know you’d be happy to
commute.
Your career potential. Why are you writing? How long have you been at
it? What are your personal career goals and why? Who else do you know,
and what is your business experience thus far?
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How well you pitch. You probably demonstrated this ability already, but
you may be asked to do it again.
Your willingness to accept writing assignments. Agents want to make
money just like everybody else. One way they do that is by finding writ-
ing assignments for you while you’re working on your own projects.
They’ll want to know if you’re willing to accept outside jobs.
If you’re lucky, the agent will also mention a contract. Most agents receive 10
percent of any sale they negotiate, and contracts are usually binding for at
least 90 days. If your agent doesn’t find you anything after 90 days, you can
leave, although you’ll probably want to give them more time than that at the
beginning. If your agent is affiliated with the WGA, you’ll receive a standard
contract of some sort. If not, it never hurts to run the contract by an attorney.
Even though the desire to secure representation is overwhelming, never feel
that you have to sign with an agency. You should make inquiries during this
meeting as well. Two things that you might ask are
Who else does the agent represent? What sales is she most proud of?
What does the agent think of your work? (Don’t be alarmed if she offers
constructive criticism. She may be right.)
Always be honest. If your script has not generated any interest, that’s fine.
Tell the agent that you’ve just begun shopping it around. Let her know where
you’ve submitted the work. Doing so saves her the embarrassment of pitch-
ing it to a studio that may have rejected it in the past. The agent will under-
stand if you’re unable to relocate or if you’re hesitant about certain projects,
although I wouldn’t emphasize the negative. You’re looking for someone
you’re comfortable with. The agent’s looking for an enthusiastic and prolific
new writer. Make sure that you both win in the deal.
Meeting with executives
You might find yourself pitching to producers for three reasons:
Someone read your work and recommended a meeting.
The query or script teaser caught their attention. They may or may not
want to discuss the script, but something interests them about your work.
Your agent submitted a spec script, and though they rejected the piece,
they’re interested in you as a rising talent.
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These meetings are nerve-wracking, especially because more than one
person may be involved. Dress comfortably, but look professional. You don’t
need to worry about wearing a fancy dress or even a business suit if doing so
makes you feel out of place, but choose something with clean lines — nothing
frumpy. On a first meeting, I’d avoid jeans and a T-shirt, for example, and opt
instead for a skirt, dress pants, or khakis and a nice shirt or sweater.
Arrive at least 15 minutes early and sign in with the secretary. Let her know
you have an appointment, but it’s not for another ten minutes or so (in other
words, let her know you’re early). Be kind to whomever you meet out front;
these people work hard and are often executives in training. Eventually,
someone will lead you into the room.
The first portion of the meeting will most likely involve informal chit-chat.
Keep your energy up and try to relax. Inquire after a project you know they’re
working on perhaps. If they ask you about yourself, be careful. They’re not
looking for your biography or even a short summation of your work thus far.
They’re just breaking the ice. Tell them something interesting, possibly make
a joke, and keep whatever you say brief.
Eventually, they’ll ask what projects you’re working on. Pitch an idea; if possi-
ble, pitch two or three. If they like one of these ideas, they may offer you a
deal to develop material. If not, they’re most likely interested in your creative
ability. Ask whether they’re looking for any projects in particular and listen
carefully to what they suggest. They probably have a writing assignment
open. They may ask you to come up with a pitch for one of their ideas. Be
aware that you aren’t the only writer they’ve asked. Eventually, they’ll sift
through all the results and assign one writer to the project. However, the fact
that they’ve even extended a request is a step in the right direction.
When the meeting is over, they’ll thank you and say that they’ll be in touch.
Maybe you’ve landed a job, maybe not. Either way, send a thank-you note and
congratulate yourself. You’re moving up.
Looking Ahead: Upon Achieving Success
Success always has two parts — the financial and the personal. Your financial
success will be based on acquiring one of the following deals:
The sale of a spec script. This deal is rare, but fantastic when it occurs.
If you have an agent, she’ll contact as many potential buyers as she can.
The ensuing auction may mean a six-figure check, more if your script is
produced. Again, this event is rare, but you can always dream!
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A development deal. This deal occurs when a studio or producer likes a
pitch and hires you to develop it. It might be a pitch you brought in or
one they asked you to design. You agree on a purchase price and are
paid in installments.
An option. Here, the producer or studio options the rights to a script for
a smaller sum and maintains them for a specified length of time. During
that time, the producer or studio attempts to attach talent to the project
and generate a buzz. At the end of the time, the producer or studio will
either purchase the script or pass on the deal altogether.
Staff position. This option is for writers interested in television. If a pro-
ducer likes your work, he may hire you for the writing staff of a new
show. This is steady pay, but the hours are long, and you may have to
relocate to L.A. This position may or may not help your film career.
Should you be offered any of these deals, your agent will handle the contract
negotiations. If you don’t have an agent at the time, you can try to use the
interest in your script to secure one. Otherwise, negotiate the contract
through an entertainment attorney.
The Hollywood market is all about highs and lows, ups and downs. One
moment, you’ll be in a meeting, pitching like a pro; the next minute, you’re
back to sending query letters and collecting rejections. Yet throughout the
roller coaster ride, one thing remains constant: You’re still writing, which
leads me to the second definition of success — artistic success. Because I
consider your artistic success more important than financial success, I’ve
crafted it into a final note to send you off.
A Final Note
If I have one final message for you, it’s this: Writing is an ancient art form and
a noble profession. When people ask what you do for a living, practice saying,
“I’m an artist” or “I’m a writer,” and leave it at that. Take pride in what you do.
Write for reasons unconnected with development deals, options, or beach-
front property. Write because you love the process. Write because there are
things that you want to know. Write because you can’t imagine life without
writing. If you maintain this passion for the craft, the rest will fall into place.
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Part V
The Part of Tens
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In this part . . .
S
o who’s writing all these great scripts? Who has been
doing it for years and who, like yourself, is up-and-
coming? What sort of films do those people write? And
how much of what you’ve heard about the business is
actually true? This part is a sampler of sorts. It details a
few writers to watch, a few of their films to see, and a few
screenwriting myths you may encounter and should feel
free to ignore.
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Chapter 21
Ten Screenwriters You
Should Know
In This Chapter
Looking at different views on the craft
Following separate paths to success
S
o who’s behind all this writing for Hollywood? That’s a good question —
and one that’s rarely asked outside the confines of studios. By the time
a film comes out, the all-star cast is usually what’s drawing the crowds, or
perhaps the director’s reputation is causing a stir. It may also be the film’s
premise, but ask movie-goers who came up with that premise. They’re likely to
cite the director or simply shake their heads and admit defeat. You can’t really
fault them for not knowing who wrote the epic adventure, piercing drama, or
romantic comedy they’re about to enjoy. Most writers spend their whole
careers in general anonymity. And yet, without writers, where would we be?
This chapter celebrates ten artists and the words they’ve brought to the
screen. I’ve chosen these ten writers because, together, they present an
eclectic and diverse body of work. Some of them adapt fiction, some dabble
in sci-fi, some in comedy, and many of them work in several genres. I also
chose writers who arrived in Hollywood via different paths. Two sold spec
scripts immediately, one worked in television first, and another began
onstage. Some of these writers have been in the industry for years, and some
are up-and-comers. So here’s the question: You’ve probably seen their work,
but do you know their names?
William Goldman
Occupations: screenwriter, novelist. Industry credits:
Masquerade (1965)
Harper (1966)
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