by Ashley Scott Meyers on June 29, 2009
I’ve gotten this question many times over the last couple of months:
“I have a great idea for an original television series. How can I sell it to a television network?”
I want to start out by saying that I have zero experience in television writing. I wrote one Seinfeld episode for a sit-com writing class in graduate school but I never sent it anywhere. It wasn’t very good. That’s the extent of my television writing experience so I may not be the best person to ask about this. I have known several television writers over the years and I do know the basics about how a television series is created so I’ll take a shot at answering this question even though my experience is fairly limited.
Creating a successful television series is the most lucrative thing a writer can do. A hit television series that runs for 3 to 5 years (around 100 episodes) and goes into syndication can net the producers/creators hundreds of millions of dollars. When you hear about the astronomical sums of money that actors are paid on hit television shows it pales in comparison to what the producers and creators are making. [click to continue... ]
by Ashley Scott Meyers on June 22, 2009
I’ve never sold a screenplay treatment or pitch so I may not be the best person to ask about this. While I know this does happen it’s usually established writers who make these sorts of sales because the only people buying pitches and treatments are established producers and studio executives – and they’ll usually only meet with established writers. [click to continue... ]
by Ashley Scott Meyers on June 15, 2009
A got a few questions from two aspiring screenwriters a couple weeks ago who were planning a trip to Los Angeles.
1. What are some ways to arrange meetings before we arrive in L.A.?
2. While there, do you have suggestions on how to meet industry people? Are there any bars/spots we should visit to network?
3. What are your thoughts about going to a company directly to give them a script?
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by Ashley Scott Meyers on June 8, 2009
I got this question recently:
“I have written a script which is my baby and I want to ensure that the producer and director don’t mess up my vision for this story. How do I bring this up when talking with the producer? How can I ensure that my vision wins the day when this film is produced?”
I’ll take the second part of that question first, “How can I ensure that my vision wins the day when this film is produced?” The short answer is simply that as a screenwriter you can’t in any way ensure that the final movie will even remotely resemble what you had originally conceived of. Even if you, the producer, and director basically share the same vision it’s quite likely that you won’t recognize parts of your movie. Filmmaking is a very complex and collaborative art form. It’s extremely labor intensive and relies on lots of different people to do their job correctly. It’s not just the producer and director who can mess up your movie. It’s the actors, the cinematographer, the art director, the location scout, and even a P.A. could accidently lose a roll of film which could result in your favorite scene being cut from the movie because there was no budget for a re-shoot. A lot can go wrong. And this is assuming that you, the producer, and director share the same vision. [click to continue... ]
by Ashley Scott Meyers on June 1, 2009
Kenneth sent in this logline:
THE SALT BATH is a noir thriller in which prodigal son Dexter Grey returns to Salt Lake City and reunites with his high school sweetheart Julie Manning to solve his parents’ murders, plunging the duo into their families’ twisted histories of polygamy and violence.
Think BLUE VELVET meets BIG LOVE. [click to continue... ]
by Ashley Scott Meyers on May 28, 2009
I’ve actually gotten this question a few times recently:
“Should I send a query letter to an agent or producer for a script that I haven’t written yet?”
This is one of the easiest questions I’ve gotten. The answer is no. Do NOT do this.
This is a crazy thing to do. Suppose a producer or agent requests your script? Are you then going to write the script in a couple of days and send it out? I certainly hope not. A script that you spent only a few days writing probably isn’t going to be worth sending to anyone. But if you spend a few months writing a script that has already been requested the agent or producer won’t even remember you by then and their “yes” will no longer be worth much. [click to continue... ]
by Ashley Scott Meyers on May 25, 2009
I got this question recently:
“I have just completed my first script with another writer. We’re both unpublished writers, and I was wondering how you handle a query letter if there is more than one writer.”
What I do for scripts that I’ve written with other people is I write the query letter from my perspective. I sign it and I write as if I (not we) am talking to the producer. I’ll mention the other writer if it adds value to the pitch. If he worked as a policeman and the script is a police drama that should be mentioned. If he’s done stand-up comedy and the script is a comedy I might mention it by writing something like this, “My writing partner on this project, Joe Schmoe, has done stand-up comedy for years and is a member of the Groundlings in Los Angeles.” [click to continue... ]
by Ashley Scott Meyers on May 21, 2009
A lot of the questions I get from fellow screenwriters are through Twitter. If you don’t already use Twitter you should seriously think about joining. It’s free and easy. It’s a very simple way to network with likeminded people and doesn’t take a lot of time (if you use it correctly). I typically log in to my account once or twice per day and respond to tweets people have sent me and then I look around for other interesting people to follow and network with. I usually spend less than 15 minutes per day doing this. I have Tweetie the Twitter iPhone app so I can check Twitter whenever I have a spare moment so the time I spend on Twitter is often time that would be wasted anyway.
If you are on Twitter you can follow me at http://twitter.com/ashleymeyers
Here’s a question I got via Twitter a couple of days ago:
“If I find a production company willing to option my script and I have an agent, does the agent still take a commission for the find, or subsequent deal?” [click to continue... ]
by Ashley Scott Meyers on May 19, 2009
Should you pay a script consultant to read and review your screenplay?
Up until a couple of weeks ago I had never used any paid script consultant services. If you read my blog you’ll know I’m a big proponent of moving to Los Angeles if you’re serious about screenwriting. One of the reasons to live in L.A. is that you’ll run into people everywhere you go who are either in the industry or trying to get into the industry and you’ll become friends with many of them. These friends become a great resource and might be able to evaluate your screenplays for you.
Since moving to Los Angeles I’ve meet many actors, writers, directors and producers. I now have several good friends who I send my scripts to and can get competent notes from them. I will often give them my opinion on their projects as well so the relationship is reciprocal. I trust their opinions and they know me well enough to know that I want the truth. In addition, I currently have a manager who I gives me notes, and in fact usually helps me develop an outline for the script, too, so he is involved in my script writing from the very beginning stages. If you don’t live in L.A. these sorts of connections are much more difficult to find.
So if you know people in the industry that’s my first recommendation: get notes on your script from them before going out and spending money on script consultants.
However, if you don’t have friends in the industry your mom, brother, wife, and friends will NOT suffice in getting reliable script notes and you should seriously consider paying a trained professional to give you feedback on your screenplay. [click to continue... ]
by Ashley Scott Meyers on May 14, 2009
I’ve never heard of a screenwriter having two agents – meaning different agents at different agencies. Typically larger agencies have offices in different cities and countries so if you’re with a big agency you essentially have representation in different countries through their other offices.
If I were you I would try and find a local agent first. While you don’t necessarily have to meet face to face with your agent it does help to establish a relationship. Once you have a local agent you can simply ask him/her if they think you should try and find representation in Los Angeles. I suspect most agents won’t want you do this but you won’t know until you ask them. And then at that point you can decide what’s best for your career. [click to continue... ]
