The Film Industry

How to market your script

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As I am not only an actress but a filmmaker, I want to help you guys out as well with all the filmmaking stuff that is going on here in Hollywood. One of the major problems with scripts for instance is not you having failed to write a decent one but not knowing how to sell it to your crowd.

So this is a great and honest article about what to do when you have a script to sell but don’t know what to do next. You gotta make it marketable! What does this mean? Read about it in Dov S-S Simens article at webfilmschool.com

4 SCREENWRITING SECRETS (This is a Must Read… #3 & #4 Are Super Great)

PAGE-1: GRAB THE READER

They say about Hollywood, “Those whores only read 10 pages”.

Hey, “Easy. Easy. I was one of those whores”. 

Permit me to explain why: Everyone believes that a “Reader” (aka: Those Whores) can tell if your script stinks within 10 pages… is a bloody-bloody-lie…

Why?

Answer: I used to be a “Reader” and did “Coverage” (2-page Book/Script Evaluations) during my first 3 years in Hollywood, while chasing-the-deal, and have read over 2,000 scripts (paid $25-$25 in 1981-1984) and the phrase that “You can tell if a script stinks by reading 10 pages” is bullsh*t for you, if an accomplished “Reader”, can tell if a script stinks by only READING 1-PAGE.

I didn’t need 10-Pages.

I could tell if your script sucks by Page-1.

Writing-2   Writing-2

Got it “ONE-PAGE”!

You gotta “Grab-da-Reader” (a whore like me), almost instantly, on Page-1.

Cut this crap with spending 7-10 pages establishing characters, settings and atmospheres.

And, yes, most readers toss your script after 1-page… So you better make your first page unbelievably great.

In 1980, when I first came to Hollywood, after 4 almost useless, night-school, UCLA Extension courses on Screenwriting, Financing, Deal-making & Line Producing, I became very tight for money.

I had a small studio apartment in the Farmers Market/Fairfax district of Los Angeles and looked for any part-time movie related job(s), besides being a PA (production assistant), to handle rent of $495/month.

The best job I found was as an “Independent Reader” for small production companies, who could not afford to hire a day-in day-out on-staff reader (aka: Development Exec), a Masters Degree in Literature graduate from Harvard, Yale or Oxford, paid $100,000-$200,000/year, to read scripts and do what is called “Coverage”.

WHAT IS SCRIPT COVERAGE & WHAT DOES INDEPENDENT COVERAGE COST?

Getting “Coverage” is the phrase used when a script is submitted to a production company, but the owner, who has other things to do, has an assistant (titled “Development Executive”) read and condense it into a 2-page synopsis (aka: analysis) with the first page being the synopsis, a 1-page condensing, of the story and a 1-page opinion on (A) story, (B) characters, (C) plot, (D) dialogue & (E) marketability.

From 1981-1985 I covered (aka: read) 2-3 scripts per nite and 4-5 per weekend.

MovieMoney-2   MovieMoney-2

Pay was…

$25 for less than 90-pages.

$30 for 90-120 pages.

$35 for more than 120-pages.

$40 for books less than 250 pages & $45 for books more than 250 pages.

Phew. Lot of reading. Not much money. Lot of typing… and after 4 years kicking in an attitude of I really don’t want to see another script… but I gotta pay rent and my car is starting to over heat.

Bottom-line; over 4 years I read and covered 700-1,000 scripts/year and made just enough money to pay rent, keep my car full of gas and every now-and-then go to a movie.

This pencils-out to reading and being asked for opinions on 2,000-3,000 scripts over 4 years.

4 GREAT SCREENWRITER TRICKS

Here is what I learned….which is important because when you want to get your script to the big name actor, director or producer you have to get not a good coverage report from a person like me, but a GREAT COVERAGE REPORT, before he/she (the owner, the celebrity actor) will read it.

FIRST: Type it (aka: format) properly. If you don’t have the proper format (likely Final Draft software or an app or celtx.com) it is “binned” instantly.

SECOND: Don’t design exotic covers, with expensive graphics & condensed posters, that you think you’re going to grab a reader into thinking “Wow”. KISS (Keep It Simple Stupid). Simple two-hole punch cardboard with the Title centered.

Writing-4   Writing-4

THIRD: “GRAB-THE-READER”… within 6 lines of Page-1

FOURTH: “GRAB-THE-READER”… again… on the very last line of Page-1.

CUT-TO-THE-CHASE: GRAB THE READER

You’ve spent a year-or-two writing your script. You are sure it’s great.

You are already practicing your Oscar acceptance speech.

But, you must first have your script read by someone like me, an A-Hole, still naïve, still a little arrogant and thinking he/she’s really a producer, but (alas poor Yurick) he/she is temporarily out of money, and to pay rent is reading scripts at $25-$45 a pop for lazy producers who I’m sure he/she believes he/she is better than.

Point is you are going to send your script to a person who (A) is not excited about reading another script, (B) is paid very little money and (C) really thinks he/she is a producer-in-training… and has a very negative attitude.

Thus, you better GRAB THE READER instantly.

Also, the average TV viewer, with a remote in his/her hand, and a universe of 100 channels to view has an attention span of only 15-seconds.

And if 1-Page of script, formatted (typed) properly is approximately 1-minute of running time…. And if there are about 24 lines/page….then 15-seconds in should be approximately Line 6.

You better make your LINE-6 of PAGE-1 a great line that hooks the reader…. Grab-the Reader.

Actually you need 2 GRABBERS!

As stated, grab him/her on page-1 of your script by LINE-6 (Grab #1).

I repeat: If an average page of screenwriting, in the correct format, has 20-24 lines…then you better grab the reader (aka: a Grabber) by LINE-6 on PAGE-1.

Then, on the bottom of page-1, the last line (Grab #2) you better have another Grabber that makes the reader (a bored negative person who is being paid $25 bucks) want to turn-the-page, get into a positive attitude and continue reading.

YOUR SCREENWRITING HOMEWORK

Now, go back and read your script that I’m sure you think is great.

dov_stock   dov_stock (I hope you enjoy any of my 3 affordable film school programs… Happy Filmmaking. They’re all based on street-reality rather than film school theory)  

More than likely you have spent 7-15 pages trying to establish characters, settings, writing well crafted exposition filled with adjectives and adverbs.

Stop it. Stop it. What you have just accomplished is bored a Reader and he/she has just mentally thrown it away.

Cut-To-The-Chase… Grab-The-Reader.

Grab a “reader” on Page-1 by LINE-6 (Grab #1).

Then Grab the “reader” again on the LAST LINE of Page-1 (Grab #2)…

Now, you got us wanting to turn the page.

Now, we’ll read 10-PAGES.

If the 10-pages are great; we’ll read the entire script.

If the entire script is Great… Voilla!

Grab somebody like me, I was a Reader & I guarantee you I didn’t want to read another script, from someone I don’t know, who isn’t famous, and I’m only being paid $25-$45.

Do your homework. Read your script. Did you Grab-The-Reader twice on Page-1?

If not do a small re-write of Page-1.

Happy Filmmaking,

 

http://www.webfilmschool.com/4-screenwriting-secrets-this-is-a-must-read-3-4-are-super-great/

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Categories: The Film Industry