Pitching and Sales: Exclusive Peek into the screenwriting Business

It is another post day in Quilltowers! We are still on a roll of screenwriting tips for beginners and professional screenwriters who look towards us for guidance in the field. In our previous post, we shared a tip in non-linear storytelling for professional screenwriters who want to veer from the conventional path, like other great artists before them.

However, art requires financial backbone to stand straight. Screenwriting can be one of the lower paid careers in Hollywood but successful writers still make a good living. In the end, talent is not enough to survive in a world where studios prefer to make cheap remakes instead of original films. In order to succeed, writers need more than a good story. In the end, your art should be able to feed you, put clothes on your back and make you comfortable enough to focus on making that art. This is why we are here to share with you steps to guide you from pitching to sales.

From Pitch to Sale: The Business of Screenwriting

1. The Pitch: You know what they say about a first impression. As a screenwriter, you have probably finished writing what you consider to be the best script you have ever written. Of course, this is imagining that as a professional, you have previously written for low budget movies, short films or genre productions. However, a venture into the high business area needs a pitch that can match the dream. After creating your movie magic, your first need is to summarise your script in 1 or 2 compelling sentences. This is referred to as having a logline. When you are asked about the script or when you have an opportunity to pitch, your logline is the first thing out of your mouth. A professional pitching needs you to first appear to be professional. Be calm, audible and be able to put your ideas in a performance. Tell your audience the tone of the film and its genre, demonstrate the point of view you are pushing for, be conversational, prepare for questions and be sure that you know all you need to know about the script. Know why you are in the best position to tell your story and how it compares to other projects that have been released recently. Is it a new ground or based on another idea but done in a different way? You get the gist.
2. Agents and Managers: Before you hire an agent, a Manager is a writer’s first bet. As a professional, you know this already. It is important, nevertheless, that a writer knows when to change Managers if no result is achieved. Good Managers focus on the overall career development. It is their job to help yor create a brand that studios and employers can relate to, shape the tone of scripts and help you manage your long-term goals. This may involve them introducing you to agents, producers or movie executives. An agent, on the other hand, is hired to get you paid gigs from employers. Professional writers hire agents while emerging writers hire managers because managers are easier to access than agents. Agents help negotiate deals on behalf of their writers and they go out of their way to push scripts to studios. These Producers are more likely to read scripts submitted by agents than by independent writers. Therefore, agents are more business-focused and they usually only relate with writers that have written at least one produced screenplay. To get these representations can be difficult but people usually do these through winning screenwriting contests, networking in film festivals, panels and conventions. A referral from a professional writer or a Producer will not hurt your chances either.
3. Options and Shopping Agreements: A Producer finally choosing your script is a cause for celebration but hold it off. Do not get carried away by your excitement by choosing a term not favourable to you. If you have representation (Manager or Agent) it will be easier to negotiate your terms but you should also understand your rights. The studio or Producer may decide to offer an Option Agreement or a Shopping Agreement. An Option Agreement gives them a temporary exclusive right over your script through a negotiated period. During this time, you are paid a fee while they shop your script. If the project moves forward, they pay the full purchase price in what is referred to as “exercising the option“. A Shopping Agreement does not take away your exclusive right, on the other hand. The Producer helps to look for an interested talent (a movie star or a Director) to secure funding and studio interest. The Shopping Agreement has no money upfront and offers no commitment. It is important that apart from a Manager or Agent, a screenwriter has an entertainment lawyer who can help review these offers. The wrong deals can tie up works indefinitely and some people use clauses to strip writers of control over their work or even credit.
4. Relationship Management: The movie industry runs on relationships and only those who are well versed in maintaining these relationships become successful in the long run. Professionals need to support others, join communities – and be active in them – become reliable and generally follow up with people.

Screenwriting is run on both craft and business. Neglecting one part may affect the other so it is important to understand how to pitch, secure representation, and handle your rights if you want a lasting career. The more you treat your writing like a business, the more likely it is that your stories will make it to the screen and the more you will get paid to tell them. You still can contact us if you need further help. For you, we are always here.