Query letter writing

[Hachi Gatsu]

I need help on amping up my query letter writing. I realize it's still a hit or miss game, but I still want to make sure I can write the best one(s) that at the least get a notice (even if it's a rejection, mean's someone took the time to read it).

I know there are certain things to add such as the persons title, your logline, a quick synopsis, contact info, extra info such as screenplay contest winnings or sold scripts if you have any, but I'm kind of lost there and end up with a pretty flaccid query letter.

On top of that, I've heard you need to have at least three different versions of your letter so if you were to look through and toss the thing at almost everyone in the Hollywood Creative Directory, no body, would get the same cookie cutter query letter.

Any books, sources, or people here who know more about this and can help out? I got a screenplay on the shelf with Hollywood in it's sites and I want to make sure I got enough ammo before I head into battle if you will.

 

[directorik]

By it’s very nature a query letter is a boring thing. If the log
line/synopsis doesn’t JUMP out at the agent or producer nothing
else will help.

But there are a lot of books and resources out there. They all say
pretty much the same thing because there is no real mystery to the
query letter. The reason most query letters don’t work - don’t get
that request for the screenplay - is because the log line/synopsis
isn’t good enough.

I have worked as a reader and read my share of query letters. I
can tell you from experience that a funny, cleaver unique query
doesn't get a script request of the log line synopsis is amazing.
And I've opened query letters that had nothing but a good
log line/synopsis and my boss asked for the script.

 

[Hachi Gatsu]

Alright. That's the idea I had in my head, but a book I read on the subject said you need *add extra info here* and pretty much sent the logline and synopsis to the back seat of it all.

Hmm...I think my logline is good, but I'm going to have to work on my synopsis. If anything then, how short should the synopsis be then? About a paragraph (if possible). I'd like to keep this to a one page deal if possible.

 

[directorik]

It's sad to me that a book would suggest in any way that
the logline and synopsis could take a back seat to anything
else. But I guess some do. I wonder how long the author
of that book spent in offices reading query letters.

If you have pertanate extra info to add it might help. If you've
written a script about cops and you were a cop for 10 years,
that would be something to mention. If you have several scripts
optioned or a sale, that would be worth mentioning. If the script
you are submitting has won or placed high in a well known contest,
that would be something to mention.