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How to get one's screenplay noticed

NCscreenwriter

NCscreenwriter

Hi, I'm wondering if anyone has any advice at all on getting a screenplay accepted by a literary agent, or at least read by someone with a production company? I'm listed with Inktip but so far, no luck except that my loglines/treatments get read. I don't want to have wasted $120 listing my 2 screenplays with these people, especially when a local company (New DayDream Films) bought a screenplay from someone who listed there. I don't want to be phony and tone down the language/graphic scenes in my screenplays but I'd really like to sell them, especially now that I've started others. How does one get one's foot in the door
as far as indie films? Thanks in advance!
 
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You need to be more proactive than listing in InkTip.

If you don't have any screenplay sales under your belt, you're
going to have to approach an agent cold. Without being able to
say, "Hey, I've sold a script! Sign me.", you have to entice them
some other way. There are two ways to get somebody to read
your script. You can network and get to know them on a personal
level, then ask them to read your script as a favor. Networking,
however, can take years to cultivate the kind of relationship where
an agent is willing to do you the personal favor of considering your
script without it feeling like you're using him. Your other option
is to query. Send a letter to agents, asking them to read your
script. Since you don't have any sold or produced screenplays
under your belt, your letter has to convince them that your
script is worthwhile anyway.

In order to maximize your chances of getting a sale or agent, you
should submit to prodCos as well as agents. An option (or better,
a sale) to a prodCo can often do wonders when it comes to finding
an agent. Almost any agent would be happy to take on a client
(and take his 10%) that's already done the legwork and found money
for his work. When sending query letters to prodCos, call ahead of
time and make sure you know how to spell the name of the person
you're sending it to, and what their exact title is. Screenplays are
read and considered by the Development (or Creative) department.
Just call the prodCo (contact info is listed in the Hollywood Creative
Directory) and ask the receptionist if they accept new material... and
if they do, to whom you should address the letter, and what their title is.

The best way to optimize your chances of getting an option or a sale
is to send it to as many people as possible. Agents, if they like the
script, will send it to the prodCos they have connections with. prodCos,
if they like the script, can pay you for your work, or at least give you
the clout to get an agent.

I would also suggest you drop the feeling that by compromising your
artistic vision you are being a phony. If your goal is to be an "artiste"
then you can stand by your principles and vision. If your goal is to be
a working screenwriter then compromise is essential. You won't always
get every single word up on the screen exactly as you wrote it.
 
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Great advice, Diretorik. Reading something like this actually makes me feel like I might have a chance. It's naturally difficult, draining work to get your script out there, but this puts it into a solid, straight-forward perspective that's rather promising in a weird way.

I didn't ask this question, but I'm gonna go ahead and say thanks anyway. I needed to read something like this.
 
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I'm going to come at this from a different angle and say that a lack of attention might not be the problem. I myself bought a script from Inktip. It's a pretty good resource for writers trying to hook up with indie producers.

You say that your loglines/treatments are getting read and that a local company does buy from Inktip. So maybe the issue here is your logline/treatment. If people are reading it and not downloading your script, then either your idea isn't compelling or your logline isn't selling your concept to them.

And if you can't get all those people to read your script by simply clicking a button, then how are you going to get agents and producers at prodcos to read it?

Have you gotten feedback from people you know and trust on your pitch? What do they think about it?
 
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I'm going to fire out a quick response. If you'd like to dive into deeper conversation about this, then ding me and I'd love to further discuss.

Query Letters....

If you aren't familiar with Query Letters, do a search and find the definition.

No production company/agency/etc. accepts unsolicited material. So, in order to stay clear of this frowned upon thing, people write Query Letters.

So, do a bit of research on Query Letters. A lot of people have used different techniques. You want to make your logline sound so interesting that the Agent or whoever reading your Query Letter will write you back and request the script... If they request your script, either send them a digital copy or a hard copy and keep your fingers crossed.

A bit of advice though, make sure your script is as tight as it can be. Because if an agent requests your script, that might be your only shot to get your foot in the door. And if you have some sloppy dialogue and action scenes, it could ruin your chances of getting signed or whatever.

Good luck, hope this helps.
 
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I think some genres get more noticed. I have written a crossover script and the script is women based . Though my story is good , my style is wholly Indian English. I still am positive and also think positive that my script will be purchased and I will be successful
padma
 
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I have a question which I believe is still On Topic. Once you post a query letter and, hopefully, receive a request for materials...can one submit the script with a title page graphic (the proposed poster illustration), or would that be considered gauche? Thanks guys!
 
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bird said:
I have a question which I believe is still On Topic. Once you post a query letter and, hopefully, receive a request for materials...can one submit the script with a title page graphic (the proposed poster illustration), or would that be considered gauche? Thanks guys!
Click to expand...
Yes. It's considered gauche.

You are the writer, not the designer of the poster. A producer who
is interested in reading your script is not at all interested your skill
as a poster designer.
 
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directorik said:
Yes. It's considered gauche.

You are the writer, not the designer of the poster. A producer who
is interested in reading your script is not at all interested your skill
as a poster designer.
Click to expand...
Thanks Directorik!

Okay, I've another question in regards to approaching a prodco when looking for completion funding. I was thinking of packaging up a dvd of my edited portion (about 35 minutes), along with both the script and storyboards for this work and presenting to a production company. I would also have a proven history of fine arts funding for this same piece which I would note in my resume. Is this kosher?
 
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A prodCo who might be interested in completion funding will be interested
in what you have already shot and the script. And, maybe, your resume.
Frankly, what a prodCo is going to be most interested in is the
marketability of the finished movie. And that isn't going to include your
skill as an artist or as a fundraiser for fine arts. They are going to look at
the actors and if you don't have names they will be interested in the
"hook" - something they can sell.
 
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directorik said:
A prodCo who might be interested in completion funding will be interested
in what you have already shot and the script. And, maybe, your resume.
Frankly, what a prodCo is going to be most interested in is the
marketability of the finished movie. And that isn't going to include your
skill as an artist or as a fundraiser for fine arts. They are going to look at
the actors and if you don't have names they will be interested in the
"hook" - something they can sell.
Click to expand...

My piece is an animation, so I'd argue that my skill (or more appropriately, style/brand) would be a principal consideration. But I am finding that the best avenue for this particular piece might be a sort of matching funds program through public television. Thanks again, Directorik!
 
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kgasser2 said:
are chances of success higher by trying to sell a screenplay, or making the film yourself, getting into a fest, and getting distributed?
Click to expand...


A screenwriter who isn't a director or producer will most likely not be good
at making the film. So I'd say no.

I don't know the exact stats, but I don't think the chances are higher or
lower. Those two paths are very, very different. A writer who writes an
excellent script and spends their time getting is sold is very different than
a writer, director, producer who makes a movie and spends their time
getting is sold. But I suspect there are more finished screenplays out
there that have never gotten sold than finished films that never got into
festivals. So maybe, statistically, making a feature has a better chance of
success.

It's also MUCH more expensive to make a movie, enter festivals and find a
distributor then writing a script and contacting agents and prodCos. I,
personally believe that there is any path that has a higher chance of success
than another.
 
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bird said:
My piece is an animation, so I'd argue that my skill (or more appropriately, style/brand) would be a principal consideration. But I am finding that the best avenue for this particular piece might be a sort of matching funds program through public television. Thanks again, Directorik!
Click to expand...
So you bury the lead.

No wonder I gave you poor information. You forgot to mention one, very important factor.
 
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directorik said:
So you bury the lead.

No wonder I gave you poor information. You forgot to mention one, very important factor.
Click to expand...

Didn't mean to offend you, and I certainly didn't consider the information you gave me, 'poor'. I think it's fair to assume that regardless of genre, a script, as you've mentioned, must have marketability, and a 'hook'. IMO, The Incredibles would have worked live action with cgi because it was such a fun story. I only mentioned my project was an animation because you inferred a prodco wouldn't really be interested in my art skills (as part of a submission package).
 
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I wasn’t offended at all.

If you had mentioned that the movie was animation my advice would
have been different. Storyboards and artwork are essential to the
financing of an animated film. They are unneeded and unwanted for
the financing of a live action movie.
 
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