by Ashley Scott Meyers on February 3, 2010
I got these questions recently:
“I live in Belgium and want to send out A LOT of query letters. Should I send them via email or regular mail?
Also, I have written two screenplays. Do I send both query letters to the same company or is it better to spread them thin throughout the other companies?”
I would be inclined to pitch both scripts at the same time in one query letter. I mention this here:
http://www.sellingyourscreenplay.com/how-to-sell-your-screenplay/how-to-write-a-professional-query-letter-for-your-screenplay/
I’ve found that snail mail gets a better response but it does take more time and cost more money. Since you’re just starting out I would try a few of each (like 100 emails and 100 snail mail query letters) and see what sort of response you get. From there you can better decide which works best for you.
One thing to keep in mind, however, is if these are your first two scripts they may not be up to industry standards. It takes even the most talented writers at least a few tries to start to get close to a “good script” so if you get a very poor response from your query letters don’t worry too much about it, just keep writing new material and continue to improve.
Also, I’ve written a lot of query letters so check out my other posts, too, as you might find them helpful. http://www.sellingyourscreenplay.com/tag/query-letters/
by Ashley Scott Meyers on January 29, 2010
I got this question recently:
“My screenplay is LONG (175 pages), which is viable for a 3-hour movie, but I’ve heard that producers and contests won’t read anything over 120 pages, which is odd because the majority of the most successful movies ever are 3 hours long (Godfather, Dances with Wolves, Titanic, Avatar, Braveheart, etc.). What are your thoughts on this issue? Can I do anything proactive to get people to read this script?”
Scott over at Go Into the Story wrote a good post about this recently. Check it out. Look at the comments, too. Lots of good opinions. Bottom line is that you’re correct that some great movies have been really long but every great movie you mentioned came from an established pro. Making a 3 hour epic isn’t something that beginners can usually pull off which is why writing a really long spec isn’t usually recommended.
Here’s the post over at Go Into the Story: http://www.gointothestory.com/2010/01/question-what-about-presenting-187-page.html
by Ashley Scott Meyers on January 27, 2010
I got this questions recently:
“As someone who’s not in the screenwriting business but thinks he has a “great” idea for a movie screenplay, I was wondering if you’d be willing to read my treatment for a movie I’ve had swimming around my head for 15 years?
The treatment is 10 pages long but what I’m really looking for is someone to give me realistic guidance on its mass audience appeal.
I’m not a famous writer or even work in the movie/entertainment industry. I’m just a regular working guy with visions (perhaps delusional) of this movie and need to know if it’s worth getting my hopes up.
Please let me know if you’re willing to spend 20 minutes reading it.”
I’d rather not read people’s work. It would be very time consuming and I’m not sure how much value people would really get out of it. Check out this post, too. It explains some of my thoughts on reading people’s scripts: http://www.sellingyourscreenplay.com/screenwriting-faq/will-you-read-my-script/
I recommend Script Doctor Eric for this type of service. He will charge you a reasonable fee but give you exactly what you want. http://www.scriptdoctoreric.com.
From your email, however, I think you’re on the wrong track. There is a famous quote, maybe Tennessee Williams, that goes something like this; “Don’t write a play, write plays.” Without knowing you or reading your work I can tell you, you are NOT “delusional” just unrealistic. There is no single idea or story that will singlehandedly make a screenwriting career. If screenwriting is something you want to pursue than pursue it but realize it’s going to be a lot of work for no pay for a lot of years while you figure out how to write a compelling script. Me reading your treatment, or not, isn’t going to change that. You’re going to have to put in the work. There is no getting around this, no matter how much God given talent you have or how lucky you’ve been in coming up with a brilliant idea. Tiger Woods didn’t show up ready to play on the PGA tour after playing one or two summers of golf. He devoted his life to it for years, and mixed with a heap of talent he’s succeeded at the highest level.
If you’re idea is compelling to you, I can assure you it will be compelling to others as well. But even if it’s not, if you spend 6 months or a year writing it up it’s still well worth the time and effort because you need to get a few scripts under your belt before you’ll be able to write something that’s good enough to sell. There is no shame in this. Any successful screenwriter will tell you how much drek they had to write before they wrote anything worth selling.
As a rule I would say be prepared to write at least 10 scripts before writing a “good” one. If you continue to read and study other scripts, learn from your own writing, each script you write will get better and better and by the 10th one you’ll probably have something that’s pretty good.
Good luck!
by Ashley Scott Meyers on January 20, 2010
I got this question recently:
“In a situation where a producer or production company reads my query letter and loves the idea, what do I do if a producer ask me to sign a release form before I can submit the script?”
Release forms are a very normal part of the screenplay submission process. When making cold submissions I would say that roughly half of the producers will require that you sign one before they will read your screenplay.
In all cases you should read the release form and make sure you understand what you’re signing. If you have questions, as with any legal matter, you should seek the advice of a qualified entertainment attorney.
In my experience (and I’ve signed hundreds of release forms over the years) I’ve never read one that really said much of anything.
In general they usually state that you won’t sue the production company if they use ideas that are similar to the ideas in your script if those ideas are not copyrightable. This is in no way a license to steal your work, it’s simply stating the obvious.
In some cases the release form will state that any litigation that you do bring against them involving this submission will be taken to arbitration. It still doesn’t give them the right to steal your ideas and if they do it’ll be cheaper for you to sue them, so that’s good for you as the writer. However, it protects them a bit from a frivolous lawsuits because they’ll be able to defend themselves without spending as much money to do so. Again, though, if you really have a legitimate complaint against them going to arbitration is going to be a good thing for you as a writer because it will be much cheaper to litigate.
It is possible that a shady producer might try and get you to sign something that’s not reasonable or normal so be careful. I’ve never had that happen, though.
by Ashley Scott Meyers on January 13, 2010
I got these questions recently:
“I’ve seen websites that recommend using the agents’ first name on the ‘Dear…’ line, and other websites where they discourage this? What do you think?
Is it better to send a self-addressed, stamped envelope or a self-addressed, stamped postcard? I’ve heard postcard and envelope. Is the trend more toward postcards? What’s your take?”
I usually write the first and last name and do NOT use the “Dear” part. For example:
Joe Smith; instead of Dear Joe Smith;
I think this is appropriate and professional. I think using just the first name is too casual considering you don’t know this person. Also, using my method with both a first and last name avoids the gender issue, so you don’t have to worry about getting the “Mr.”, “Ms.”, or “Mrs.” wrong.
I always use a self-addressed stamped postcard when mailing query letters. It’s easy and cheap for everyone involved. The producer can simply write a quick note on the back of it and drop it in the mail. With an envelope, even if it’s stamped, the producer still has to write a letter and stuff it in, which is a lot of work for a busy producer. In this day and age make sure that your email address is on your query letter and easy to find because I’ve found that in most cases a producer will simply drop me an email if they want to read my script even if I’ve included a self-addressed stamped postcard.
by Ashley Scott Meyers on January 6, 2010
Someone recently sent me this pitch for review:
Title: The Question
Logline: Random daily encounters lead a brilliant thirty-something to a different
perception of his body.
Synopsis:
What would you do if tomorrow you discovered that there is nothing in your head? If you could no longer put a sandwich in your mouth nor drink a glass of water? If your heart stopped beating? If you found that you are unable to die but all the people that you speak with won’t find anything out of the ordinary
in what is happening to you?
Matrix has shown us what can hide behind the word “reality”. The evolution of a certain idea can put the spotlight on the protagonist that gives meaning to our “reality”. We need only ask the following question: “why is our brain the most complex organ in the universe?”
To be honest I do not have a background very different to many of the others who send you their screenplay. I love to ask myself questions and, like in my story, I have tried to give a simple answer in an amusing and enjoyable way.
Well… it seems interesting but I don’t see a clear story line with a protagonist and a real thrust to an ending.
Your synopsis is very abstract and it needs to be concrete. For instance in your logline, I’m not sure what “a different perception of his body” means. We need to know who the protagonist is, who the antagonist is, what the central conflict is, and at least some idea about the resolution. A story, and especially a film, is about a journey with a beginning, middle, and ending. Those things aren’t clear in either your synopsis or your logline. But it should be clear in both.
I wouldn’t say this: “To be honest I do not have a background very different to many of the others who send you their screenplay.” Aside from the grammatical problems it doesn’t sound professional. What’s the point in telling a producer that you’re a novice? If there any upside to that? Act professional and you will be treated professionally.
You should check out my posts about Writing a screenplay logline and Writing a synopsis for your screenplay.
Good luck!
by Ashley Scott Meyers on December 29, 2009
I got this question recently:
“Hi there.
Do you think it’s worth it for a 20-year-old like me, to move from my country, Portugal, to Los Angeles or somewhere close, to follow the dream of writing screenplays?
I mean, if it’s a tough world to the American writers, isn’t it even tougher for a foreign boy to do well? Or if you’re really talented, it doesn’t matter?
I’d appreciate an honest answer, it’s very important to me.
Greetings from Portugal.”
It’s really a personal decision and I would never want to try and push someone in one direction or the other. It depends on how passionate you are about making your dream a reality balanced with how much you value time with your friends and family at home. There is no right answer.
It’s going to be very difficult to succeed as a screenwriter even if you have a lot of talent so if you’re not ready to work hard it’s probably not worth moving to Los Angeles.
I personally feel like Los Angeles is a great place to live and work, even if you’re not in the entertainment industry, so I don’t see a lot of downside to giving it a go even if it’s just for a few years.
I’ve written some posts about moving to and living in Los Angeles which you can read here:
http://www.sellingyourscreenplay.com/tag/living-in-los-angeles/
Especially these two articles:
Moving to Los Angeles and preparing for the long haul
Do you have to live in Los Angeles to be a screenwriter?
by Ashley Scott Meyers on December 23, 2009
I got this question recently:
“If you have no street credit in writing, much less Hollywood, but you think you got a great movie that can be made on the cheap and strike a nerve like Juno, My Big Fat Greek Wedding, Little Miss Sunshine, etc., is it likely that a producer will accept paying you nothing and give you an option to take a few points out of the profits if you think you got something?
Or are writers too easily disposable to get that much of the cream unless you are a Seth Rogan level writer? If they are ready to option it, I’m assuming they like it enough to move forward and raise capital and pander to agents for actors? Would producers find that bravado intriguing or would it just turn them off because you are clueless to the reality of the industry?”
I can’t emphasize this enough: Take the money and run!
One thing that people outside of the industry fail to understand is that it doesn’t matter how great your script is, it’s highly unlikely that it will “hit a nerve” like Juno, My Big Fat Greek Wedding, or Little Miss Sunshine. There are so many moving parts when making a film that it’s impossible to predict how successful it will eventually turn out. Yes, a good script is a key ingredient to making a good film, but many good scripts have ended up terrible films. The producer or director might make changes to the script that, in your opinion, destroy it. The actors might not give the performances that you think they should. The budget can force the producer to rip entire sections of your script out. The weather can force changes to your story. The marketing of the film can miss completely and there won’t be anything you can do about it.
But the main problem with taking only backend pay is that you’ll probably never see a dime no matter how successful your movie is. Film accounting is a black box and costs for other films can be piled onto your film so that your film doesn’t actually show a profit. Some of the most “successful” movies of all time never made any money on paper. Forrest Gump was one such film. I think it was the writer, had some backend points on the film and the production company wouldn’t pay him because they claimed the movie didn’t actually make any money. He had to sue them.
Forrest Gump is an extreme example. Suppose your film is a modest hit and is made on a budget of $5 million and grosses $20 million at the box office. That’s a big hit but the production company and distributer will pile in all sorts of costs, some legit and some not so legit, and they’ll make sure the film never shows a profit on paper.
So unless you want a percent of nothing, make sure you get paid up front.
Also, a career in screenwriting isn’t about one film or one script. As the screenwriter of a successful film many doors will open up for you and your career will soar so don’t worry too much about how much money you’re going to make on your first script sale. Think long term.
Mainly, though, when you’re pitching your script either over the phone, in person, or in a query letter you don’t want to mention anything about payment – either backend or upfront. All you’re trying to do is get the producer to read your script. Once they like it, then you can begin to negotiate the terms of your payment.
by Ashley Scott Meyers on December 16, 2009
I got this question recently:
“I let industry pros read my work. They always say I’m a good writer and that they enjoy reading my work, but they never offer to option. Am I doing something wrong? If the work is good, why not? Or is that a nice way of saying your work sucks?”
Without knowing who you submitted to and what you’re relationship to them is, it’s hard to know exactly what the response really means.
In general I would say that most of the time when a producer says they think you’re a good writer and enjoy your writing you should take them at their word and assume they mean what they say – in most cases they will.
When sending out cold query letters, in my experience the producers who thought I was a hack usually offered no response at all. If a producer takes the time to respond to a cold submission and says they liked the writing it usually means they liked the writing.
When I make a submission to a producer who I have at least a little bit of a relationship with (or my agent / manager does) and a non-response isn’t going to work for them I’ve found that the response is not always as straight forward or easy to read. Sometimes they will say they liked the writing even when they didn’t just to be polite.
If you’re wondering why they don’t want to option the script I would recommend simply asking them. You’ll probably learn something quite valuable. If your follow up question is ignored don’t worry about it and move on. But in many cases if the producer really does think your material has merit they probably will offer some valid reasons why they don’t want to option it.
If a producer gives you a positive response but doesn’t want to option the script make sure you add them to your list of industry contacts. Whenever you finish a new script they should be the first people you approach since you already have a relationship with them and they’ve been positive about your writing. If they show no interest in any of your future projects then it’s a safe bet that they were just being polite.
One thing to keep in mind is that there are a lot of good scripts out there that may not be marketable or may not be in the producer’s wheelhouse of what he/she can actually get produced. If a producer has made nothing but low budget action movies it really doesn’t matter how good your broad comedy script is, they simply can’t use it.
by Ashley Scott Meyers on December 11, 2009
“The Black List” is an annual list of the most popular unproduced screenplays as voted on by Hollywood insiders. If you haven’t heard about it /film did a good write up and listed the screenplays for 2008 here: http://www.slashfilm.com/2008/12/10/the-2008-black-list-the-hottest-unproduced-screenplays-of-2008/
The people who put The Black List together have set up an official website which can be found here: http://www.blcklst.com/
You can download the lists for the different years (including this years winners) in PDF format by going here: http://www.blcklst.com/tbl/list/
As a screenwriter it’s very interesting to dig into these scripts and have a look at what’s considered “popular” by industry insiders. You can find all of these scripts available for download here:
2008 The Black List Screenplays
2009 The Black List Screenplays
As the top entry on the 2008 list I started to read The Beaver by Kyle Killen. Mel Gibson is starring in it and it should be released next year. What’s interesting about this script to me is that while it’s very well written (Killen clearly knows about depression) it’s not a mainstream Hollywood film and I can’t see it doing any business at the box office. If it was a low budget indy-film starring Philip Seymour Hoffman it would probably win some academy awards but with Mel Gibson as it’s lead I doubt anyone will see it. I look forward to following this film through next year.
This is a great resource for any screenwriter and you should check out as many of these scripts as you can.
