Email and fax blast service success rate

by Ashley Scott Meyers on November 30, 2011

I got this question recently:

“I am interested in using your script submission service. I have 2 questions.
1) I know this may be difficult to track but do you have any idea of the success rate of writers using your service? By this I mean the response level from producers (this is the route I will take) – i.e. producers who respond to the query and request a script? 5%? 10%? 20%?
2) Is your database filtered? In other words, is it a broad spread to all producers or selectively targeted according to the genre of the script described?”

In a general way I cover some of this in my post, Getting your screenplay to producers and production companies. so if you haven’t read that, please check out that post.

I would say in the last few years I’ve seen the success rate diminish quite a bit. Right now people who are using the producers blast service are getting between 1 and 15 positive responses. So 1.5% (roughly 1000 companies in my database) is on the high end. I think with a very marketable idea pitched with an excellent query letter, you could still get close to a 2% or higher (over 20 requests) from the producers blast. The agents and managers blast service, while my list is smaller (around 500 companies) seems to get a better positive response rate overall. So 1% – 2% (around 10 – 20 positive responses) is possible. I had one screenwriter get more than 25 positive responses with an excellent query letter. If you were to purchase the blast and get zero responses I would happily give you a refund for the entire thing, but that’s never happened yet. Also, the way the service works is that you join our paid site and then post your query letter in the forum so by the time we send it out, it should be professional and generate some interest.

One thing new writers grossly underestimate is the quality of their log line and overall story concept. Many writers don’t understand how unmarketable their ideas really are. The people targeted in my email fax blasts are businesses trying to make money, so the concept has to be marketable. I can help a writer polish his/her query letter but at that stage it’s too late to re-do the entire story concept.

To give some specifics about how this service can work I’ll use one of my own screenplays as an example. I recently optioned a screenplay using my own blast service. I used the producers email fax blast three times with about a month between the first and second blast and about six months between the second and third blast. The first blast received 12 positive responses where the producers agreed to read the script. The second blast received 8 positive responses and the third blast only received 5 positive responses. It was the third blast with only 5 “yes” responses that produced the option on the screenplay. So it can take several blasts to work.

Another thing that I think new writers often times fail to understand is that these blasts are not just about optioning and selling your screenplay. When I first started doing these blasts around 2003 I did a blast for a comedy screenplay. A producer read it and liked it but for what ever reason never got back to me on it, he probably didn’t like it that much. About six months later I did another blast for another comedy screenplay. The producer remembered the previous script of mine and agreed to read this new script. This time he liked it enough to call me and set up a meeting. In addition to being a producer, his company also managed a few writers. So he suggested that we work on rewriting one of the scripts he had read and that he become my manager. I liked his notes and felt he had a good sense of my sense of humor and could add value to my team. So my writing partner and I signed on with his company. Over the years we developed a few scripts with him. Finally in 2007 my writing partner and I wrote a screenplay that he really liked and he ended up producing it, that’s how Man Overboard came into being. As you can see from my experience, it can take literally years for these things to fully play out. In fact, while the producer is no longer my literally manager he’s still a good friend and there is a good chance we’ll work on projects in the future. So one of the goals of these sorts of blasts shouldn’t just be optioning and selling your screenplay, it should be to build some relationships with people in the industry.

My database is NOT filtered in any way. I have found that companies are usually looking for interesting material and aren’t usually too concerned with what genre it is. There are some companies who only work in television, and those companies are NOT in my database.

To learn more about our suite of screenwriting marketing tools please go here: http://www.sellingyourscreenplay.com/how-to-sell-your-screenplay/professional-screenwriting-tools/

{ Comments on this entry are closed }

Screenplay format

by Ashley Scott Meyers on November 23, 2011

I get a lot of questions about proper screenplay format. So I thought I’d write up a post which can help with the vast majority of these questions.

In general, you’re best bet for understanding screenplay formatting is to read a ton of screenplays by professional screenwriters. There are lots of places to find online versions of film scripts. Google “movie title screenplay” and you’ll usually find the exact script you want. There really is no better way to understanding screenplay format than by reading lots of screenplays.

Usually the person who asks the screenplay format question will have some strange and obscure formatting issue that they have never seen before. Often times I don’t know the “right” way to format it either. But one thing to keep in mind when trying to figure out how to format your screenplay, above all else, make it easy to read and easy to understand. Never let the formatting get in the way of reading your screenplay.

Think about the journey your screenplay is going to take, if you’re lucky, from your computer to the silver screen. Assuming you can get your screenplay read (read my post How to Sell Your Screenplay to learn more about getting your script read, optioned, and sold) the first people who read your screenplay at an agency or production company are going to be entry level folks who have a lot of other screenplays to read. Even if your story is solid, if your screenplay has a bunch of really clunky formatting that makes the act of reading it hard, you’re seriously jeopardizing your chances that they will recommend your script.

Again, I’m talking about general screenplay format, your script has to look like a screenplay or it will never get past those entry level readers. But don’t get hung up over small picky little formatting details for obscure situations. Just tell your story in the simplest easiest to read manner you can think of and you’ll be fine.

I also find that many people who are asking about these strange formatting issues simply shouldn’t be including them in their screenplay. Ask yourself, is this direction absolutely necessary to tell my story? If it is, do your best to make it understood. But in most cases you could and should cut these situations out of your story and you’ll be much better off.

For many strange formatting situations there probably isn’t a “right” way to do it anyway. There is no official screenplay format council that decides exactly how screenplays should be formatted. There are simply some professional standards which you should follow. If you have a firm grasp on basic screenplay format you should be able to figure something out if you decide your story absolutely can not be told unless you use some bit of strange direction that needs special formatting.

I’ve written several posts on various screenplay formatting issues so be sure and check out those posts, too. You can find them all here: Screenplay formatting questions.

{ Comments on this entry are closed }

Someone else is working on a project that is similar to my own

by Ashley Scott Meyers on November 16, 2011

I got this question recently:

“I have a screenplay idea that deals with an obscure historic character and the great sacrifices he made.
I’ve checked online from time to time to see if there is any internet buzz or news regarding the character.

Today I discovered a book written about my character by an author who claims to also have a screenplay adaptation that will be in preproduction in 2013.

My question is this: Is there a good way to search to see if a similar screenplay idea to mine is out there being shopped around or is in some stage of production?

I don’t plan to give up my project; the author’s book was panned by the critics (I’ve ordered a copy to see for myself), and I’m skeptical if the claim of preproduction in Europe (made by the author’s on his own web site) is true.

I know there is room for more than one movie addressing historic figures and events, but as my subject is virtually unknown, I’m inclined to think it pointless to continue costly research if I discover another project is set in motion.”

I would say if you’re passionate about your subject then continue forward. A well written script that you’re passionate about is always a good writing sample, even if someone else releases a film based a the same character. Now if you have lots of other topics you’re equally excited about then maybe writing one of those is a better idea. But I think if you dig deep enough you can probably find that almost every idea is in “development” somewhere. Most projects, even in development at a major studio, never actually get produced so you don’t want to spend too much time worrying about this. Obviously it really depends on the material and how similar your material is to the material being developed.

I would say new writers tend to get caught up too much in these sorts of details. Most screenplays we write (even the established pros) will never see the light of day. While we all want to maximize our efforts, I would say spending too much time trying to find out if anyone else is working on a similar project is for the most part a waste of time and you would be much better off spending that time actually writing and improving your craft. If you choose a topic and story that you’re interested in and passionate about, I don’t think you can go wrong. Your version of the same historical character will be unique and original and your passion will hopefully shine through.

To answer your first question about doing this type of research I would say try and read the trades (The Hollywood Reporter and Daily Variety) and maybe set up a Google Alert on the name of the historical figure so when news or information hits Google you’ll know about it.

{ Comments on this entry are closed }

Getting the most out of your visit to Los Angeles

by Ashley Scott Meyers on November 9, 2011

I get quite a few emails from people who are visiting Los Angeles and want to know how to get the most out of their trip in terms of advancing their screenwriting careers.

I wrote a post on this very subject a little while ago, so check that out if you haven’t already read it: Taking a Trip to Los Angeles to Jump Start Your Screenwriting Career.

I recently learned of a program run by Alan Denman, a writer and mentor, where he will actually help you plan and execute your trip to Los Angeles. He’s calling the program L.A. Residential. If you’re planning on visiting Los Angeles you should definitely check it out. I’ve corresponded with Alan via email and he seems like a very genuine person who’s looking to really help screenwriters.

You can learn more about this program by going here: http://www.script-to-screen.com/Script-to-screen/L.A._RESIDENTIAL_2.html

{ Comments on this entry are closed }

Doing rewrites on your screenplay for producers

by Ashley Scott Meyers on November 2, 2011

I got this question recently:

“You mentioned a lot throughout your book about rewrites. I was wandering what in your case did the rewrites often entail.”

Rewrites are the un-sexy part of screenwriting. They’re the part of the business that people don’t usually give a lot of thought to when they decide to become a screenwriter but end up being the single biggest part of the process.

At the highest level, meaning studio projects, rewriting is actually the most lucrative part of being a screenwriter. Many projects have script issues and they bring in writers to try and correct them. In some cases writers will be paid for only a few weeks worth of work (or less). Sometimes these writers get writing credit but most of the time they don’t. The fees range but in general this is the quickest easiest way to earn money as a screenwriter. It’s not glamorous but it pays the bills. Getting this sort of paid writing gig comes with experience. This is not work for novice or unproduced screenwriters. The studios hire writers who have had some success in the genre that they need rewritten. While I have a few credits, I haven’t had any “hits” and have never gotten this sort of writing gig. It’s great work if you can get it.

What I have encountered, more times than I care to remember, is optioning a screenplay to a producer and than having the producer want you to do rewrites. In some cases the producers will pay for the option and rewrites but in many cases they will not. I wrote a post that covers a lot of the same ground, so check that out: How to decide if you should option your screenplay to a producer.

As an example, my first produced credit, Dish Dogs required many rewrites which my writing partner and I did for free and ultimately in vein because they ended up using very little of the rewrites we did and just rewrote it themselves. You can read more about the whole story here: What happened to Dish Dogs?.

Every person has their own ideas and vision and producers are no different. There are usually some practical considerations that you might not have thought of when you wrote your spec script (i.e. certain locations are just too expensive) but most of the time producers, directors, and actors have their own artistic vision and they want you to incorporate some of it into your script so that they feel like they have some stakes in the film. That’s certainly understandable.

I’ve been in situations where I thought the producers ideas were stupid and I’ve been in situations where I thought their ideas were pretty good. I always try and get an idea about what sort of changes a producer wants before I option the screenplay to them and these changes are a factor in helping me decide if I’m going to option the screenplay to them or not.

The bottom line is that if you don’t want to make any changes to your work screenwriting probably isn’t the medium for you. Film making is a collaborative medium and that means compromising and working with others.

{ Comments on this entry are closed }

My screenplay was a winner at a film festival, how should I prepare myself for the festival and awards ceremony?

by Ashley Scott Meyers on October 26, 2011

I got this question recently:

“My screenplay was just announced as the winning feature screenplay at an upcoming film festival. I am going to accept the award. So here is my question: What should I expect now that I am a winner? Will I likely be approached by agents and producers at the festival? Should I contact an entertainment attorney for advice before going? Am I going to be a guppy in bowl full of sharks who will try to get my screenplay for as little money as they can?

Your advice please on how I should prepare myself for the festival and awards ceremony?”

I don’t think you need to spend money or time talking with an attorney at this point. Once someone presents you with a contract then you should seek out an entertainment attorney.

I would look at this festival as a great networking opportunity. Go prepared and look for any and all networking opportunities.

I have a few suggestions as to how to prepare for the festival:

1. Print up a few copies of your script(s) and make sure you have access to email and PDF versions of your screenplays so when you meet someone, if they show an interest in your script you can email it to them right away or hand them one of the printed copies. A lot of people prefer digital copies of screenplays so make sure that’s an easy available option for anyone you meet.

2. You should print up some business cards and hand them out to anyone and everyone who will take it. I would recommend building a screenwriting website (see my screenwriting tools page as I offer this service) to showcase your other log lines and synopses and make sure you print that on your business card and tell people about it.

3. Make the most of your experience by taking advantage of every opportunity the festival offers. There will be lots of sessions, meetings, and opportunities to network and you’ll get pretty tired after a day or two but remember that this is a business trip so take every opportunity to network that you’re given.

{ Comments on this entry are closed }

Man Overboard wins the Los Angeles Film and Script Festival

by Ashley Scott Meyers on October 25, 2011

I’m happy to announce that a film I wrote with Nathan Ives, Man Overboard, has won top honors at the Los Angeles Film and Script Festival. It has been awarded the “Best narrative feature.” It will be screening in Santa Monica, CA on November 5th 2011. If you’re available please come out to see the film.

Here is a link to the festival’s website: http://lafilmandscriptfest.com/

Here is a link to the 2011 winners: http://www.lafilmtickets.info/Fall_2011_Winners.html

You can purchase tickets to the event by going here: http://www.lafilmtickets.info/Tickets_2011.html

{ Comments on this entry are closed }

How do you stay objective about your material after reading and re-reading it so many times?

by Ashley Scott Meyers on October 19, 2011

I got this question recently:

“I wrote my first screenplay and at first loved it. After reading it for the 900th time, I find it very boring. Is it normal for writers to experience this?”

Yes. This is quite normal. I experience this with every screenplay I write. What you’ll find though is after writing a few screenplays and reading them a few thousand times, you’ll start to be a better judge of what is actually good and what isn’t. It might not seem original or fresh anymore but you’ll have an intellectual understanding of what is working and what isn’t even if it is no longer interesting to you.

You should be getting notes from people on your material and this is a great way to tell if your instincts are right. If you start to feel like a scene isn’t working and other people are telling you the same thing, than that means it’s probably something you should look at and perhaps rewrite.

Also, I have found myself finishing first drafts and then letting the material sit for a while. Sometimes months, and sometimes years. Then you can go back to it with fresh eyes. My writing partner and I recently optioned a screenplay, and we felt exactly the same way you did, at first we loved the idea and everything about the script but by the end of the writing process we were ready to throw it all in the trash. It’s now optioned and the producers want us to do rewrites. It’s been well over a year since we finished the version we sent them so we’re now excited and ready to take another pass at this material. You might try and just put your material away for a few months, work on something else, and then go back to it after you’ve had time to get some distance from it.

{ Comments on this entry are closed }

Getting rejected

by Ashley Scott Meyers on October 12, 2011

I got this question recently:

“Our first script just got a terrible review on triggerstreet. Do you know much about the site? And also, got any motivational advice on how to get past the initial ‘rejection’ feeling? May sound dumb, but was wondering if you experienced this.”

Every successful writer has been rejected more times than they’ve been accepted. The great thing about writing is it doesn’t matter how many times you get rejected as long as you eventually find success. Submitting your script and having it get rejected just means you’re playing the game. So congratulations on that.

You can check out my IMDB credits for yourself. I have four produced screenplays. I’ve written around 30 scripts and probably received some where in the neighborhood of 5,000 rejection letters. Keep in mind too, when you make submissions, in most cases you won’t even get a rejection letter, you’ll get no response what-so-ever, so I’ve probably made 50,000 cold query submissions over the years to achieve those four produced credits. So yeah, I know a thing or two about rejection.

I have one sibling, an older brother who’s 16 months older than I am. Growing up we were roughly the same in size and we looked roughly the same in age. People used to even ask if we were twins. As most brothers do, we played all sorts of games and competed in all sorts of sports. While the age difference didn’t look drastic, when you’re younger the extra 16 months is a huge advantage. He used to beat me at nearly everything we did, and we did a lot. As kid I don’t think I ever won at anything. The first time I ever remember beating him at something was when I was about 14 and we were having a competition to toss a log across the yard. For what ever reason the age gap had shrunk and I was able to toss it a little further than him.

The point is, getting beat really doesn’t phase me. And I think that spills over to these sorts of rejections, too. Getting rejection letters was never really something that got me down. I was always too busy sending out more letters and writing more scripts to really spend a lot of time worrying about it. And that’s the attitude I think all writers should take. You’re going to get rejected, a lot, and if you can’t handle that this is not the right profession for you.

As for Trigger Street, I have never used it but I have heard good things about it. I would try and read the scripts that get good reviews on the site and learn from them. Compare them to your own screenplay. Is it better? Can you learn something. But Trigger Street isn’t your only option. You should be submitting to agents, managers, and producers, too. Check out this post to learn how: How to Sell Your Screenplay (in a nutshell).

{ Comments on this entry are closed }

The production company is telling me they will only accept submissions through an agent

by Ashley Scott Meyers on September 28, 2011

I got this question recently:

“Every time I contact a producer, they tell me to have an agent send them my material. Is this really true? Do I have to find an agent first?”

In many cases companies will not look at material except through an agent that they have a relationship with. But in many cases they will. I’ve also found that if a company is not interested in your material telling the writer to submit through an agent it is a polite way of saying that they’re not interested in your specific idea.

So here’s what I recommend.

Go back and look at your pitch. If you’re doing it over the phone try and take a step back and improve how you pitch your material. If you’re pitching through a query letter re-write the query letter. In my experience you should be able to get 1% – 5% of production companies to read your work. So if you make 1000 phone calls or send out 1000 letters you should be able find 10 – 50 companies who will read your work, assuming your pitch is good. With a bad pitch you won’t get any positive response so make sure your pitch is as professional, interesting, and unique as it can be. Make 100 phone calls or 100 query letters and if you don’t get at least 1 or 2 positive responses revise your pitch again and try another 100. Rinse and repeat.

This post goes through all the basic steps to finding producers and pitching to them: How to Sell Your Screenplay (in a nutshell).

Read my post about getting an agent and take action. In that post I explain how to get an agent – it’s basically the same thing as pitching to production companies, you need to pitch your story idea to them either over the phone, email, fax, or query letter. Start pitching and keep revising your pitch until you get a few people who request your screenplay.

How do you get an agent for your screenplay? (And why you don’t need one!)

These posts cover some of the same ground:

Submitting your script through an agent or manager

Submitting to companies that don’t take unsolicited material

No one is going to make it happen for you except you. There is really no short cut except to do the work.

{ Comments on this entry are closed }

← Previous Entries

Next Entries →