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It's a catch 22 sort of....you have to get 'read' to get optioned. When I listed on InkTip...I just put the log/synopsis up there. I guess it's a chance we all take in this game....especially if you have something real high concept ... scary...but we have to get 'read' to get optioned. Right?
I've never paid too much attention to the sell/option aspect of scripts, so I can't say I'm commenting from experience. What's a story if you can't write it? I can say that from experience. I would think this approach would be for a writer that has too much time on their hands or is already established in the business.
I do know that if a writer is interested in writing specifically for television, that format and writing is extremely important, but I don't see any reason this wouldn't be applied to features as well. Maybe I've missed the point, but from what I've gathered from sucessful writers, time is critical.
Just my thoughts, screenwriting is a hobby for me at moment, not in it to win it yet.
IMO, I'm not a fan of Save the Cat. It's got some helpful tips on pitching your story, acceptability of story, and the value of high concept ideas. However, it doesn't promote organic storytelling, which may cause budget concerns for most filmmakers, but I believe is key for a story that weaves the elements through structure.
Got a little of topic there, but maybe the art if pitch and providing beat sheets works for some people. I feel if you got a killer hand, there's no reason to hold back, because you might get called on a bluff.
Hey guys! I have a feeling that most of the newbies and even seasoned writers here are very eager for their scripts to be read by someone who really looks like 'The right person to make my script into a movie'.
I, for one am very eager to have my work read by as many people as possible. Throw a hook, and you have a small change of catching a fish. Throw a net and…well you see…
The only exception I can see is if a script is written for competition purposes and the writer doesn’t want their work to be seen until the end of the contest.
That's the first step to realize that it isn't how brilliantly well formatted your screenplay is, it is the STORY that will eventually sell. With that being said, all you need to do ever is post just a log line anywhere and not at too many places.
Yeah, but you need to have the brilliantly well formatted story to back up the logline. Besides, a logline isn’t a story. I’ve heard a thousand excellent loglines that had a pile of shite story to back it up.
Once you have developed a nice rapport with this individual, then slowly give out only an idea that you have a Screenplay written out. BUT never jump and send it out immediately on that being asked for.
Why? I don’t follow your line of reasoning here. I was approached this week by a movie producer who flat out asked for a script of mine. The guy is legit so I sent him my script. I work hard to get my scripts ready now. If he checks out and I have a script ready for them to see, why would I spoon feed them small bits and pieces. I want the deal.
Even if it is the same producer or director who has made movies before and you haven't done "Jack" yet. There are plenty of reasons for this, not part of any "Secrecy" paranoia, but the simplest of facts, that if you give out too much information on your idea, then all the more a reason that it will get rejected or become a nuisance for the producer or director to mold your story to their liking.
I completely disagree with this and pretty much everything you’ve said here.
If a story is sound and ready to shop, the last thing someone wants is a dance especially if they want a script to produce. If my script gets rejected, it’s because he either didn’t like it, the story didn’t fit their needs, or I didn’t create a story compelling enough to seduce them to spend X amount on my work.
I can understand where you might be coming from here, but I don’t agree with it. If I’m going to take a massive chunk out of my life to write a story, I’m sure as hell going to put it out there for as many people to see as possible.
Not trying to be harsh brother. Just giving my opinion...
Never give out your version of the screenplay to anyone that wants your story made till you see the CHECKBOOK and the pen in someone's hands to key in your name on it. Then make your bargain!
So you’re saying here that a producer should first be sat down and be ready to write you a check before they ever see your screenplay and based solely on your idea and logline? Is that really how it’s done? A producer will fall so in love with a logline that they are willing to set down with you with an open check book and say…WOW! That’s the best flucking logline I’ve ever heard. I have my check book open, now let talk about how much it’s gonna cost me to read this script?
@ Shawn -- If you feel comfortable, send me your best log line and half a page synopsis, for any story you feel is a sure shot winner in your own eyes. I'll take a look. Then, we can have this dialog about why we shouldn't send out the script too easily, specially if it is your best. Please read the posting and its headline again. I am talking about your 'Main script'.