So, you’ve written a great screenplay. It’s got a cracking premise, a fantastic cast of characters, an original world, a brilliant narrative structure, dialogue that crackles and a visual landscape that makes the hairs on the back of your neck stand up. What next? How does this brilliant piece of work make it to the screen? Here’s where the really hard work comes in – you have to try and sell your screenplay.
The first thing to remember about selling a screenplay is that there isn’t only one way of doing it. You might have already sold your screenplay to the producer on the basis of a short outline or treatment. They loved the idea so much that they optioned it, meaning that they paid you a sum of money to hold onto the rights to the project for a period of time – six months, a year, five years, etc. Or, you might have made a pre-sale with a distributor who thought the idea was so strong that they felt they’d easily be able to sell it. They were impressed by the project’s creative assets – the idea, the director or actor (if there are any attached), the soundtrack (if one’s been created), even you as the writer. Or, you might have spent so long writing the screenplay that you know it better than you know your own life, meaning that when you go to pitch it to a producer or director they feel your passion and commission it straight away. Or maybe you’re using a competition or funding scheme to get your screenplay read, and hoping that some kind of commission will follow.
However you approach trying to sell your screenplay – and you’ll probably try many options at once – the key morsel of advice is that you’ve got to keep believing in your work and your ability to write, and not give up. But that’s very easy to say. The going can get tough, without a doubt – piles of rejection letters, face-to-face refusals, negative feedback, etc – but, if you really want to make it, you have to persevere. And, of course, you have to think strategically. You have to try and turn threats into opportunities and weaknesses into strengths. You have to understand the market, learn the tricks of the trade – if, indeed, there are any – and be prepared to network like crazy. That said, you also have to know what you’re talking about.
When trying to sell your screenplay, there are various documents that a buyer (or commissioner) might want to read. These are known as pitching documents, or selling documents. Basically, they serve two functions. First, they convey the story. This doesn’t just mean letting the reader know what happens – though that’s a major part of these documents – it means also giving a sense of the style and tone of the film, which includes the theme (how we should read the story). In other words, they should try and evoke a sense of feeling – as if the reader’s experiencing the story as they work through the document. This is where good creative writing skills come in, using language to create the feel of the film. This might include vocabulary, syntax and the layout of words on the page.
Secondly, they should give a sense of the scale and logistics of the project, so that the reader can gauge how much the film would cost to make, and what kind of production logistics it’d require. This includes high-concept idea or not (will it appeal to the masses?), audience demographic (which might link to genre), cast size, locations and potential tie-ins (product placement, funding body schemes, music, actors, etc). Although discussions about some of this stuff would happen after someone expresses interest in optioning or commissioning your work, it’s useful to try and give some sense of it at an early stage. If you think there’s a particular benefit or selling point of your project – such as specific audience appeal or any talent already attached – then you should definitely write about it.
I talked about the purpose of development documents in Chapter 3 and, because pitching documents share many of the same qualities, I’ll mention it again here. Whichever document you’re working with, it should try and do the following:
You need to know the essence of your screenplay – what it’s about and why it should be made into a film – and you need to convey it well. Don’t be satisfied with a first attempt at a pitching document – keep honing it so it’s perfect. This might involve re-reading or thinking more about your screenplay, so that you really capture what it’s about and appeal to the buyer or commissioner. This may very well be your one and only chance.
The first document you’re likely to need – though it’s actually not a document as such – is a logline. This is a short, sharp summary of all that the film is. It’s usually only one sentence, though it can sometimes be two, and, in a snappy, clever and ‘salesy’ way, it needs to spell out who the protagonist is, the dramatic situation and/or world, what the protagonist’s goal is – including their motivation – the main antagonism and the theme. Sometimes, too, the logline conveys a sense of the genre. The logline should give a sense of direction and dimensionality – in other words, not just the plot but also the theme. In other words, both the protagonist’s physical and emotional journey. Don’t confuse a logline with a tagline or strapline – that’s something used specifically for advertising, like you’ll see on a film’s poster and/or DVD cover, and it’s more of a hook than something that captures the story.
Here are some examples of possible loglines:
An extension of the logline is the synopsis. This is a prose document that summarises the story, usually a page in length. A synopsis can be more neutral and matter-of-fact than longer documents, though I’d always encourage you to add dramatic flavour where you can. A synopsis might use the logline first – as a title, perhaps – followed usually by three paragraphs. Paragraph one sets up the story and the situation – Act 1; paragraph two develops the story and details the complications/hurdles – Act 2; and paragraph three gives the resolution of the story, with its emotional punctuation mark – Act 3. It’s important to hit the key beats of the story here, and not give too much detail about things that are less important, as it’s the document that might make or break your potential deal – the ‘bite’ that will make them want to read more (outline, treatment, etc).
A longer and more detailed version of the synopsis is the outline. Still a relatively short document in the grand scheme of things – usually two to three pages – it tells the story in its entirety. It can flesh out the key beats more than the synopsis, and better bring out the intended emotion. Secondary characters might be introduced in the outline, too, helping to map the bigger landscape of the narrative. It’s usually written in polished, powerful prose – creative writing! – denoting the relevant feeling and tone of the film. The style of writing in the outline can reflect the writer’s voice, which again might link with the feeling and tone of the story.
I’ve already discussed the treatment in Chapter 3, so go back and remind yourself of this document. It’s often one of the most important documents used for selling a feature film because of the detail it goes into. In a way, it’s just one step short of reading the screenplay – apart from dialogue and visual texture, it lays out all of the action and emotion.
Try writing a logline for a screenplay that you’re working on. When you’re happy with it, see if you can develop it into a synopsis. Then, try to extend that into an outline. Some people find it easier to work backwards – starting big and then boiling down to find the essence – so do it that way if you prefer. If you can, test the documents out on a fellow screenwriter.
It sounds obvious, but you really do have to be strategic when you’re trying to sell your screenplay. What I mean by this, quite simply, is that you need to think carefully about what you’re doing and work out a strategy for how you’re going to achieve your goal. For example, it’s no good sending a children’s film to a literary agency that doesn’t deal with children’s films. Or, it’s no good submitting a feature film idea to a competition that’s aimed at television series. This sounds really obvious, I know, but it’s surprising how many people seem to be oblivious of, or else ignore, such things. Not only is it a waste of time and effort, it could paint you in a bad light – and people in the industry, whether they’re agents, producers, directors or readers, talk – a lot.
The first thing to consider is how you’re going to get your script into the right hands – the producer’s, the director’s, the actor’s, etc. Depending on the kind of project you’re working on, and whether you’re looking to sustain a career as a screenwriter or just try and make films yourself, one of the first questions you might ask yourself is whether or not you need an agent or manager. Historically, most screenwriters have had agents or managers – someone who’s represented their creative projects and found them work through their expansive contacts and relentless networking. There’s no denying that an agent can do a lot for your career – find you work, negotiate your contracts, keep you sane, etc – and having one can certainly make you feel good, and like you’re a real writer. They might take their ten or fifteen per cent commission, but it’s worth it because of everything they do for you. Nowadays, however, people are relying less and less on agents. Because we’re all able to find our own networks – especially through social media websites such as Facebook, Twitter and LinkedIn – the idea that we need someone to put us in touch with people and recommend our work is becoming outdated. There are so many avenues for ‘getting in touch with’ and ‘following’ the right people these days that many emerging screenwriters aren’t consciously looking for agents or managers. ‘Real’ networking events such as screenwriting festivals and conferences allow screenwriters and producers to meet, talk and pitch ideas – whether formally, such as a speed pitching session, or informally, such as over drinks in the bar. Therefore, is the agent needed? It’s a good question – and only you’ll know the path you want to take – though there are two quite specific reasons why an agent might be a good choice. First of all, many production companies and broadcasters won’t look at work unless it’s sent to them by an agent. Second, if you’re lucky enough to get a commission, an agent will know exactly what to look for in the contract that will benefit you both creatively and financially. So if you really haven’t got eyes for small print or a head for figures, an agent could be a good bet.
If you are thinking about approaching an agent, here are some tips:
If you’re planning to go it alone then you definitely have to think and act more strategically. You have to take on the role of the agent yourself, not just the eager screenwriter. For example, it’s no good just having a great product – many people have that. You need to know how you’re going to turn that product into something that’s going to get made, or at least optioned. That’s why you need to be market savvy and keep on top of things – trends, tastes, movements, productions, competitions, funding schemes, etc. You also have to be somewhat ruthless, which doesn’t mean being nasty or willing to shaft your mates, but involves being forward thinking and prepared to make sacrifices in order to achieve your goals. This might manifest itself in a variety of ways, from working evenings and weekends to get the right pitching documents together, to travelling up and down the country to attend networking events and festivals, to spending money on training that will help you understand laws, policies, grant writing, etc. Some people thrive on this and are very good at it. Others shy away and don’t want to understand – in which case they will most definitely need an agent!
From writing your screenplay and putting together a range of pitching documents (as above), you should have a strong idea about where your project might sit. This could mean commercially – as in, what’s a film production company looking for at the minute and does yours have the potential to hit the spot? – but it could also mean creatively – as in, what script development schemes are currently ‘recruiting’ writers and projects, and does yours have something in it that they’re looking for (location, theme, genre, etc)? Whichever opportunities exist out there, it’s your job to evaluate them and see, where possible, if you can tailor your project accordingly. Sometimes people are looking for screenplays set in particular worlds. Sometimes they’re looking for screenplays in a specific genre. And sometimes they’re looking for writers of a particular background, who can tell a certain kind of story related to an event, person, theme, context, etc. Obviously your screenplay’s not going to fit all of these opportunities, but sometimes it pays to think carefully about how you can package it to at least get past the first hurdle. In this sense, you’re not just a screenwriter but also someone who knows the bottom line.
Sandra Cain is an author, writer and lecturer, specialising in creative writing, publishing and public relations. Her books include Key Concepts in Public Relations (2009) and Media Writing: A Practical Introduction (2010). She has this to say:
Marketing your screenplay
A screenplay is a product – and, as such, should be marketed and sold like all other products. The whole point of a successful marketing campaign is to sell a service or a tangible asset at a profit. The Chartered Institute of Marketing defines marketing as ‘the management process responsible for identifying, anticipating and satisfying customer requirements profitably’. The American Marketing Association defines marketing rather more precisely in describing it as ‘the process of planning and executing the conception, pricing and distribution of ideas, goods and services to create exchanges that satisfy individual and organisational objectives’.
‘But hey,’ I hear you say, ‘this is a screenplay, not a tin of Boston Beans!’ That doesn’t matter – the fundamentals of marketing still need to be considered. A good place to start is with what marketers call the Four Ps – Product, Price, Place (Distribution) and Promotion. In the case of the screenplay, the product is the physical screenplay itself – the tangible creative output you want to get made as a film, to be viewed by a global audience. Pricing takes into account any profit margins set in place by the production company. Place is associated with channels of distribution – who’s going to see the movie, where, and how. Finally, promotion – the decisions related to communicating and selling the film to potential audiences.
In the case of selling the screenplay, there are two avenues. The first is to sell to a production company, who’ll option the screenplay and hopefully one day make the film. The second is to try and sell directly to the market – crowd sourcing, private investment, etc. This might fund you to get the film made yourself.
Many production companies nowadays only accept screenplay submissions from people they know and trust – agents, established producers, entertainment solicitors and writers with a track record. It can be really hard to get someone to read your script when you don’t have an agent – though it’s not impossible. If you’re an independent filmmaker then the ball’s in your court. And this is when marketing your screenplay really kicks in. Without the backing of a production company, you’re pretty much on your own – and this is where the Boston Beans come in.
You’ll need to plan your marketing programme as you would a military campaign. It can’t be an ad-hoc affair – it must be sustained and tactical. You’ll need to ask yourself the following questions:
Your marketing plan should be a tactical document based on in-depth research that outlines the strategy and initiatives. The five major stages of planning are:
1. Analysis of the market
2. Marketing objectives
3. Audience and demographics
4. Messages
5. Timescales
You’ll need to consider the marketing tools and techniques you’ll use to persuade your potential audiences and buyers (in the case of merchandising) to come to market and part with their money. These tactics are important tools of influence, and are an important part of the marketing campaign. Remember, tactics have weaknesses as well as strengths, and an efficacious marketing programme should select a range of techniques that complement each other and, when taken together, offer a potent set of messages. Be sure to include traditional marketing techniques as well as online, digital, guerrilla and social media.
© Sandra Cain, 2012
As I’ve already mentioned, there are numerous funding schemes out there that are geared towards screenwriters working on feature films. National and regional screen bodies and arts organisations have a duty to develop talent and spend a portion of their budget on screenplay development, which you should investigate and try to tap into. Although such schemes vary from country to country and even from region to region, they all share the same function – to develop local writing talent and create films that are commercially and culturally successful – and may manifest themselves in one of the following ways:
If you’re keen to get your film made regardless of production companies and broadcasters, and especially if you’re a writer-director, then you might consider crowd funding as a way of earning enough money to turn your screenplay into an actual film. Although it’s a relatively new concept, it works on the basis of some of the principles used in traditional film financing – namely, that those with a vested interest in having a film made and putting good stories out there will donate money. Although much crowd funding is done ‘in kind’, perhaps from family and friends, some of it’s in recognition of things like product placement and credit (associate producer, executive producer) – so not at all dissimilar to traditional film financing.
Like self-publishing, films made through crowd funding might be viewed as negative. People may see them as ‘vanity films’ or not ‘real’ films. Although it’s clear where this view comes from, it’s not really true. At the end of the day, it’s a legitimate way to get a film made – a film that’s been written with passion – and although it’s not been funded traditionally, that doesn’t mean that it’s of a lesser quality. Such films are often made for other reasons, too, such as to showcase the writer and/or director’s work, which might lead to other, ‘proper’ projects – or to prove that a controversial story can be told effectively, which, once this has been recognised via audience and industry reactions, might be picked up by a distributor anyway, and turned back into a ‘proper’ project.
Popular crowd funding websites include Indiegogo, Kickstarter and PleaseFundUs. As with most things these days, it’s not good enough to just have a product and an opportunity – you need to have a solid communications strategy, which undoubtedly means using social media. If you’ve got a great screenplay that you want to get made, and the way of getting it made is through a crowd funding website, then you clearly have to drive traffic to that website. If you want the bucks, you have to get the looks! So, for example, you might think about setting up a website for the project, which could very easily be a Facebook or Wordpress page – where there’s a format and design tools already in place, and you simply have to fill it with relevant content and style. This could be complemented by a Twitter account, which you can use to send out project updates and other related newsfeeds. Once you’ve captured an audience – a Facebook ‘like’ that’s there to stay, and a Twitter ‘follower’ who’s always going to get your updates – you can start to create a virtual community that will hopefully help you both financially and promotionally, such as telling others about the film project.
Although crowd funding can open the floodgates to a project being realised, there are also things you need to be careful about. For example, what are the funders getting from the project? What can you promise them – and what can you not? Do you have different levels of funding in place, with associated credits, and, if so, what happens if you get many more or many fewer than you anticipated? There are also practical things to consider, such as whose bank account will the money go into – the company’s or yours – and who’s going to manage the Facebook and Twitter accounts – especially if they attract dozens of hits a day? This is where getting a producer on board really helps. Their role is generally much more concerned with project management – budgets, schedules, contracts, etc – which, as a creative, you might really need to have in the mix.
There are many facets to a crowd funded film, then, which you may or may not want to get involved in. If you do, then there are clearly great opportunities for your film to be made, giving you that elusive credit as well as the satisfaction of seeing your screenplay on the screen. And, of course, there are hundreds of well-respected film festivals around the world that might screen your film, which could lead to other opportunities. If you’re definitely interested in this type of venture, Spanner Films has compiled a comprehensive guide to crowd funding, which you should look up online.