Read 'Lajos Egri’s The Art of Dramatic Writing' at http://www.SellingYourScreenplay.com.

This book was recommended to me by an actor who I met when I first moved to Los Angeles.  I was standing in line at a bank one day when I struck up a conversation with the guy in front of me.  He was an actor and writer who had been living in Hollywood for more than 50 years.  He had lots of wisdom to impart including recommending that I read Lajos Egri’s The Art of Dramatic Writing.

The book was written a long time ago and it was specifically geared towards playwriting.  All drama whether a play or a film is rooted in the same fundamentals and this book covers the fundamentals of drama like no other book I’ve ever read.

This book is an excellent compliment to Syd Field’s Screenplay.  While Field is all about screenplay structure, Egri is all about character and the character driven story.  All great drama revolves around a great character and Egri gives you lots of help developing solid characters.

Whenever I begin a new project I like to go back and read certain portions of this book to make sure that my new project is headed in the right direction.  For instance, Egri has a great way of describing the dramatic premise – which isn’t a logline – but helps a writer focus on the main conflict in their story.  I always like to figure out what my “Egri Premise” is before I begin writing a new script.

If you haven’t read The Art of Dramatic Writing I highly recommend that you do.  You can purchase The Art of Dramatic Writing from Amazon.com by clicking here.

Read 'Syd Field’s Screenplay' at http://www.SellingYourScreenplay.com.

Nearly 30 years after it was written Syd Field’s Screenplay: The Foundations of Screenwriting; A step-by-step guide from concept to finished script is still considered a must read for all aspiring screenwriters.  It was one of the first books recommended to me by a producer after I sent him a half-baked query letter and it really helped me in my screenwriting development.

Field’s main contribution to screenwriting is clearly defining the three act structure into a concise paradigm.  I read somewhere that this “groundbreaking revelation” wasn’t a revelation to people in the industry, in fact the 3 act structure has been around for literally thousands of years, but he spends so much time talking about it in his book that it becomes very clear just how important this really is to writing a Hollywood movie.  The main thing you will get out of this book is how to structure your screenplay into the three act structure, or the ‘paradigm’ as he calls it, with a plot point at the end of the first and second acts.  Much has been written about the paradigm since and many people have tried to expand upon it, but there really isn’t a lot more to it then what Field covers in his book and most of the expansion on it that I’ve read usually overly complicates something that isn’t that complicated.

Field spends enough time on all the other aspects of screenwriting including basic formatting, character development, writing dialogue and he uses enough real examples that after reading this book you should basically understand the mechanics of how to write a screenplay.  Actually writing a great screenplay will takes years of practice but this book really does serve as a launching pad for anyone who’s ever wanted to write a screenplay.

You’ll want to see the movie Chinatown before you read this book (if you’ve seen it, watch it again) as he draws a lot of his examples from it.  You will want to read the Chinatown screenplay, too, so you can really dig into the syntax and pacing of a good screenplay and follow along as Field talks about it.

Field’s second book, The Screenwriter’s Workbook, is pretty good, too, and I actually found it a bit more easy to use as it’s a workbook for writing your script and goes through the process step by step always keeping the paradigm in mind.  It covers a lot of the same ground that’s covered in the first book but I think it’s worth reading, too.

Click here to buy Syd Field’s Screenplay: The Foundations of Screenwriting; A step-by-step guide from concept to finished script from Amazon.com

Click here to buy Syd Field’s second book, The Screenwriter’s Workbook from Amazon.com.

Click here to buy the DVD of Chinatown from Amazon.com.

You can view the screenplay for Chinatown in for free here:

http://www.sellingyourscreenplay.com/wp-content/uploads/screenplay/scripts/chinatown_screenplay.txt

Read 'How to Sell Your Screenplay (in a nutshell)' at http://www.SellingYourScreenplay.com.

Since the title of my blog is “Selling Your Screenplay,” and I want that to be the focus of my blog, I figured an obvious first post was to write a simple guide to getting your screenplay sold.

Keep in mind that this blog is not an exhaustive list of ways to get your script sold.  It’s just a few ways that I’ve tried and had good luck with.  Always be on the lookout for other ways to get your script sold and realize that some of the things I’ve done may not work for you.  Hopefully if you see exactly what I’ve done and how I did it you will be able learn from it and apply it to your own situation.

To sell a script the first thing you need to do is write a great screenplay.  I know this sounds obvious, but really, it’s got to be great to get noticed.

I would guess that for most of us to write a “great” screenplay you’re probably going to write a half dozen (or more) not-so-great ones.  I read once that Platoon was Oliver Stone’s 11th screenplay – but the first one that actually got him any recognition.  So don’t be ashamed about being a novice, everyone is at one time or another, just keep writing, and with each script you’ll get better and hopefully you’ll eventually start churning out scripts that are up to industry standards.  Just because your first one (or first ten) are terrible doesn’t mean you’re not capable of writing a great screenplay, it just means you’ve haven’t acquired the skill yet.

Once you’ve written a great script write two more so that you have at least three solid screenplays ready to go.  It’s very common for a producer or director to read one of your scripts and think it is well written but not quite right for them – that’s when you’ll want to pitch them one of your other “great” scripts.

Don’t be too eager to start sending out your first few scripts if they’re truly not up to industry standards – and if you haven’t written at least half dozen scripts or more they most likely are NOT!

There are lots of books on how to write a good script.  Ream them. I personally recomend Screenplay by Syd Field and The Art Of Dramatic Writing by Lajos Egri for starters.

You can learn more about Field’s Screenplay by checking out my post Syd Field’s Screenplay

So how do you know if your script is up to industry standards?  You’ll never know for sure.  But as a screenwriter you should be interacting with other screenwriters, reading their scripts, and reading scripts from produced screenwriters.  So by the time you’ve written a few solid scripts you should have some idea about where you stand compared to industry standards.  If you’re not doing any of these things your script probably isn’t ready and neither are you – so start reading other people’s scripts while you’re working on your writing.

Make sure you protect your work by getting a copyright on it or sending it to the WGA for registration. Check out my post How do you protect your work? Screenplay copyrights and WGA registration to learn how to protect yourself and your script.

Okay… so now you’ve written several great scripts and gotten them all copyrighted. Now what?

You’ve got to get your script to someone who can turn it into a movie. While this may seem obvious (and easier said than done) it’s all you have to do.

Who do you know that could turn your script into a movie?

Perhaps you have enough money to produce the movie yourself.  I’ve done this and it allows a lot of creative control over the final product.

Or perhaps you have a rich relative or friend who might be willing to invest in your project.

In this day and age you can produce a feature film for very little money and if you’re looking to get your first project off the ground this is going to be the easiest way to do it so seriously consider it.

But if you’re goal is to simply sell your script then you’ve got to find a producer who will raise the money and make your movie.  While this is very difficult this is precisely what most screenwriters are looking to do.

Many novice writers assume they need an agent to help them sell their script. While a good agent can help I recommend going straight to the produces themselves. In my experience when you have no credits finding an agent that can really help you is actually harder then finding a producer who will make your movie so you’re better off spending your time trying to find a producer than an agent. Check out my post How do you get an agent for your screenplay? (And why you don’t need one!) to learn more about finding an agent.

Many of the trade publications (The Hollywood reporter, Daily variety, Backstage West) will often  have ads in them placed by producers or directors seeking screenplays.  Over the last few years I’ve noticed that there are fewer and fewer of these sorts of ads in the trades as they have moved to Craig’s List.  Read my post about submitting to Craig’s List.  While you do have to be very careful, it is a great resource for writers, especially beginning writers. I recently optioned a script to a producer I met on Craig’s List so it can be done.

I actually began my screenwriter career by submitting to Reader’s Digest Writer’s Market.  They have a section for screenwriters and have filtered the list a bit so that most of the listed production companies will read scripts by unproduced writers.

The Hollywood Creative Directory (HCD) is a comprehensive list of every single production company in the United States with addresses, phone and fax numbers, and sometimes email addresses.  While this isn’t an easy road I have optioned screenplays through unsolicited submissions this way.  It’s going to require a lot of letter writing, faxing, emailing, and phone calls, but if you do it on a large enough scale you will eventually get some of these companies to read your material and hopefully option it from you.  There’s well over 2000 companies listed so you have plenty of places to submit.

Check out my post Getting your screenplay to producers and production companies for more information about exactly how to do this.

No matter who you submit to you’re going to need to write a good query letter and synopsis for your script.  A query letter introduces yourself to the producer.  You want to list any writing credits you have and a logline (one-sentence synopsis of your script) about your script in about half a page.  Then you’ll also include a 1 page synopsis about the script you mentioned in the query.

Read my full post about how to write a professional query letter by clicking here.

Read my post Writing a synopsis for your screenplay to learn exactly what you need to do to write a professional synopsis.

Read my post Writing A Screenplay Logline to learn how to write a great logline.

Make sure you include both your phone number and email address in the query letter so that they can contact you and have a choice about which method works best for them.

I would say as a rule if you get a response from any of these sources 5% of the time you’re doing pretty well.  On Craig’s List you should be higher than that.  Submitting to the companies in Writer’s Market you should be right around 5%.  Submitting unsolicited letters to companies in the HCD will probably result in less than 5% – maybe even as low as 2%.  If you’re response rate is significantly below these numbers you need to take a step back and really look at your query letter and synopsis, re-write them, improve them, and then try again.

I have never been a good talker so I’ve never tried cold calling companies but I’ve known other writers who used this method with great success.  I typically will send emails, faxes or letters through regular mail.  Try all 4 methods and see which one works best for you. The HCD lists all 4 bits of contact information for most production companies.

I’ll be expanding on all these ideas and more in future posts so check back often.  

Also, feel free to comment below if you’ve used some of these methods to submit our script or if you’ve used other methods.

Good luck.