Question:

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.

Question:

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.

Question:

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.

Question:

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.

Question: I do have an agent. I just finished writing my spec and it’s pretty commercial. I gave it to my agent, and instead of him wanting to take it out wide, he said he wants to target one producer. Does this make sense?

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!

Question:

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.

Question:

If you have a great script that’s very commercial and you feel like it can possibly sell, but you don’t have representation yet — should you enter that script into a contest?  Because what I’ve been told is that if the script does well in a contest, it will get you representation — but after you get that representation, the agent won’t want to send it out anymore because he feels like it has basically already gone around town as a result of so many eyes having seen it through the contest.  Because it’s already been “seen” in this way, the agent won’t have a hush-hush hot script.  Instead, he’ll have a known quantity that people have already formed opinions on, and thus he won’t be able to ramp up a major bidding war for it.  So I’ve been advised to keep a great commercial script to myself and not show it to anyone.  The only problem being that contests seem like a great way to get agents’ attention.

Screenwriting Compass:

The best scenario for you would be having a great commercial script and sending it to an agent to read. That of course is easier said than done. If you can’t find an agent first, then I do think you should submit your script to a screenwriting contest.

I actually believe it’s better to send your script to a screenwriting contest first, before sending it to producers. If you send it to a producer and they like, they will want to tie up your script and have it exclusively to shop. If you send it to a screenwriting contest and it actually makes it in the top three, you will find that people will find you, and you will have more options to decide. So if you can’t get an agent or manager first, go ahead and send to screenwriting contest.

The second part to the question is if an agent will want to take on a script that has been in a screenwriting contest? I can see why you may think that if it’s in a contest, then that means the whole town has seen it. Agents and managers want scripts that are fresh and unseen. However, if we read a great script and it happens to have been in a contest, that is fine. The truth is, many of the top producers and studio executives rarely are scouting screenwriting contests. They barely have time to read actual scripts being submitted to them for projects. Are they really going to waste valuable time reading screenwriting contest scripts? Even if they did read it, an agent can call and follow up. If the script is good and it sells, the agent can negotiate the deal.  So don’t worry about it, if the script is good and commercial, an agent will want to represent the project.

Here is an interview I did for screenwriting-for-hollywood.com.

 1) Thanks for taking the time to do this interview today. Tell us a little about yourself and your site…

I’m a real agent at a real agency. That’s pretty much all I can say about myself without giving up my identity. My site was meant to provide me with an outlet to express what I have on my mind as well as give screenwriters some advice.

The fact that I remain anonymous, I can be honest without feeling the need to watch what I say. Sure you don’t know who I am, but this will be useful in the answers that I can provide screenwriters.

2) Were you always set on becoming an agent? How did it all come about?

Not really. I knew I always wanted to do something in the industry, and I tried a bunch of different professions within the industry. Once I realized agents have the most information in the industry and can really make things happen, I knew that’s what I wanted to do.

3) You mention in one of your articles, some of the best ways you feel are to get an agent. Most of them boil down to making contacts in the industry. Is this something most writers fail to grasp to begin with?

A lot of writers express themselves better on paper than in person. That’s probably one reason they chose writing as a profession. Networking within the industry is great and can definitely help, but writers shouldn’t focus most of their time doing this.

The most important thing is writing, networking should supplement this career. Think about writing like any other business. People seem to forget that. Writing is way to make money and a writer should be as professional as any other businessman. And like any other business, networking is part of the job.

4) Thousands of query letters are sent to agents in LA from writers hoping to break in. Is this a complete waste of time now?

It’s not a complete waste of time. But the first question you really need to ask yourself is, would the general public want to watch my movie based on my logline? If in one sentence, someone does not want to watch that movie, then the script is in trouble. Try this as an experiment. When you are thinking of writing a new script, think of the logline. Then go to a few of your friends and tell them the logline.

Don’t tell them it’s your script, tell them that you just saw a trailer to a new movie coming out and it’s about… If they say, “that’s a really piece of < >$#@$@,” then you know your script won’t appeal to the studios. Now if you do have a good logline and a good script, maybe sending query letters may work. Although expect to send 1000 off and get 10 responses.

5) In an article you recommend writing commercial scripts. Do you see a trend that most new writers write dramas?

I don’t think that’s a new trend, I think that’s always been the case. I don’t know why new writers do this. They don’t understand the business. Repping a drama is 20 times as hard as repping a commercial script, and most agents are going to pass. Make it easier on yourself, write something people will want to read.

6) Why do you think your most successful client has got to where they are?

They listen and are easy to work with. They don’t take anything personal and they know the business. They understand they have to write several spec scripts and those might not even sell.

They know that they will have to give a lot of takes on assignments and they may not get the job. However, they continue to work hard and perfect their craft. At the end of the day, something will hit.

7) What’s one thing about new writers (or even established ones) that really annoys you?

They think they know how to do my job. This usually leads to them second guessing, and this leads to an agent or manager not wanting to deal with the client. Of course, this is not everyone, it’s just a very small percentage.

Before we let you go, any last golden nuggets of advise?

Go to the movies. You’d be surprised of how many screenwriters don’t go watch movies in theaters.

Question: I have been with my manager for a year now. There was a script that I have been working on and right before we were going to take it out to the town, he just told me he wants to be a producer on this. What should I do?

Screenwriting:
The good ol’ bait and switch. I see this happen a lot. There are a lot of different scenarios where this is fine and then there are a lot where this is not fine. If you had an agent, the manager would be a lot more careful on how they did this. Also, a lot of managers might not want you to get an agent if in the back of their mind, they have been wanting to attach themselves as producers, so just keep that in mind if you feel your manager is telling you that you don’t need an agent at this moment.

If you have been working on your screenplay on your own, without much input from your manager and at the last moment he says he is going to produce this… then that is not cool. Few legit managers will actually do this. If on top of that, he is going to “double dip” meaning that he is going to commission the sale of your screenplay and on top of that is also going to take a producing fee, then that is just shady. You need to watch out for managers that do this. If you have written a great script and your manager tells you this, I would say it’s time to look for another manager.

Now here is the situation when this is acceptable. If the manager gave you the idea for your script, or even spent hundreds of hours working with you on this idea, then you may find it OK for him to attach himself as a producer. However, if he does, make sure he will partner up with another more reputable producer. If this is the case, ask if the are going to commission the script sell or take a producing fee. If they are truly producers, they will only take a producing fee.

I have worked with managers who have attached themselves as producers, but all situations have been acceptable and they truly did do a lot of the work in terms of development or research. You just need to evaluate your own situation and see if you feel comfortable or not.

Question: I am going in to meet a producer who likes my screenplay. How should I dress?

Screenwriting Compass: So you have been told for job interviews to overdress in case you aren’t sure. You have been told to wear a tie, a suit, come in with a notepad ready to take notes. Well, if you are a writer, throw all that out the window!

You can get away with a lot in Hollywood, and especially dress code. Hip producers go around in jeans and tennis shoes. And writers aren’t too far away. If you are a writer, try and dress the part. Don’t go in with a suit because it makes you look uptight. Go in casual. Wear jeans, tennis shoes…if you are a comedy writer, wear a funny shirt!

It’s amazing what dressing the part can do for your image. I’ve met with writers who have come in with suits and ties, and even though I liked their writing, I was worried about signing them because I was worried they would come off too uptight in meetings. And then I’ve met with writers who dress really hip and trendy and I’ve signed them because they give out a more creative vibe.

So next time you have to go in for a meeting, don’t overdress…underdress… it’s ok in Hollywood.