Selling a Script

[Chris Gore]

Okay, no BS stories from wannabes, no whining that no one will buy my script, no plugs for screenwriting books -- I'd like to hear from a screenwriter who has actually sold a script and I'd like that person to explain the process and the realities.

[bennettk]

CG,

Hooo Ya!

Nice preframe for this maiden voyage, but what is the average national attention span...Like six seconds.

Well, I hope people stay true to your guidelines in this forum.

Later,

Bennett

[Adam Hackbarth]

Well I've written screenplays of my own for a few years now -- without the intent of selling them. I guess I was sitting around waiting for a pile of cash or stolen credit cards to fall on my lap.
Then all of the sudden, this past March, I sprung out of bed and said, "Why can't I be paid to write some of these straight-to-video flicks?"

The theory was to crank out a string of well distributed b-movies, save up the cash, and then maybe one day I could use that cash to produce my "true gems". Well, here's what happened:

After hearing a rumor that a b-movie producer was in need of a writer or two, I prepared an intro letter and mailed it to him. In no time, I received an e-mail asking me to call him. I was baffled. After all, I hadn't even sent him a writing sample.
Well, apparently he found my name on the internet as one of 800 billion prople who co-wrote Class of Nuke 'Em High Part IV. I guess the Troma name impressed him -- even though Class of Nuke 'Em High Part IV will probably never actually be made due to the bizarre and demanding script. Not only that, but I also understand it was never actually going to be made in the first place.
At any rate, the first thing he asked me was about the Troma mini-credit. I laughed and explained how the credit doesn't really amount to that much -- considering the bukaki sized group of writers involved with it.
We continued to talk, and it seems to me, that he took my explanation as a massive display of modesty -- which it certainly wasn't. Suddenly I found him talking business with me. The ball had begun to roll forward.
The first thing I learned is, if you don't have a spec to shop around, you better write a few. I am starting to think it's always good to have atleast three good scripts to pitch. If not, you'll find yourself in my position. I was getting an assignment.
This is where the producer goes, "OK. I got an investor who wants to shoot a movie. He seems to want a Sherlock Holmes kind of story but with vampires. Maybe the detective is a vampire and he has only until sunrise to solve a crime. Just make sure to have sex or blood at least every eight pages. The locations we have available are a barn, a taco stand, a hotel room, a swimming pool, and a pet store."
So the producer would ask me to bang out a quick treatmen... which he'd want ASAP. And after a week or so, he'd call me back and tell me how the executive producer liked it. OK, I know some of you couldn't believe how I'd write a treatment for someone without expecting any pay. But again, it's only one page, and if it's an idea I would never have written on my own, I'd figure, "What the harm?" After all, at the time I had sold just as many screenplays as any poop eating toddler.
Well, this year, I sold three screenplays with this method. The producer would call me back and hire me to bang out the screenplay. Sure, it's not where I'd want to be (I'd rather be selling specs through an agent), but I have learned that I have been gaining a level of credibility that wasn't there before. I guess other producers out there don't like to take risks. So when I tell them that I wrote "x" which was directed by "z" who also directed "y" starring Scott Baio, then all of the sudden, I become someone that they want to hire.

So out of all this, what do I have to pass on to you?

1) Don't be ashamed of your credits. No matter what you have written, list them all. Who knows, there might be some freakish name recognition or connection with someone.

2) If it's all about the money, then perhaps you should stick with just writing spec scripts and shopping them around until that one lucky break.

3) If you are dealing with the b-movie market, chances are the pay won't be very good. Just figure out how much money is worth your time... and how much isn't. If they want the script in two weeks, maybe you can charge more than if they needed it in a month. But don't get carried away.

4) Don't be shy to charge for rewrites. If they aren't paying you anything, then they shouldn't expect you to do rewrites for free. JUST BE UP FRONT WITH THIS. Don't surprise them with your wants and needs. Be up front with everything. Personally, I prefer to do the rewrites... no matter what. After all, it's better for you to re-write it than to have them hire a stranger. Just use common sense.

5) Do the best you can. No matter how small a movie seems, the script still showcases your ability as a writer. Make sure you put your best foot forward.

6) Once the contract is signed, LET IT GO. It's out of your hands. Don't be shocked if you are never consulted. It's no longer your baby. Yes, it was once YOUR script. But if they paid for it, it's now THEIRS to ruin... or (gasp!)... improve.

7) Don't cash any checks until the details of the agreement have been worked out on paper. However... I am not an attorney.

My ideas will not work with everyone. These are just some of the things I have learned. Each producer/studio is different. Feel them out.