The Three M's

When initially trying to market your brilliant screenplay it is important to keep in mind the Three M's:

                    "Mainstream, Memorable and Marketable"

Does the true essence of your screenplay represent them? Producers and/or Fat Cats (money guys) want to know.

Mainstream

Is your screenplay Mainstream? Does the theme appeal to a wide demographic? The more people that get turned on by the theme of a film, the less empty seats in a theater. Don't get me wrong, there are non-Mainstream movies that become what are called "sleeper hits" but the odds of those succeeding are a gamble. For what it's worth the "sleeper hit" is the diety to which most independent filmmakers pray.

But for our purposes, what is it in your screenplay that makes it Mainstream?

Memorable

Now, your screenplay may be mainstream, but is it Memorable? People have to leave the theater thinking about your story and not about whether not they have enough money to pay the babysitter.

What is it about your screenplay that would make a Memorable film?

Marketable

Okay, so your story may be mainstream and memorable, but is it Marketable? You could have a mainstream theme with some truly memorable moments but can distributors market it? Is there a "flair" about it that audiences tend to eat up? Does the story have charisma?

What is it about your screenplay that makes it Marketable?

The Logline

The Logline is a brief summation of your screenplay. Simple idea, right?. Sure, but creating a compelling and memorable one that will represent your screenplay in one or two sentences is quite challenging. Why such importance put into one or two sentences? Well, in busy Hollywood, the Logline is sometimes all the decision-makers have time to read, so it better be absolutely superior to anything they have ever seen...that day. I cannot stress enough the importance of getting this marketing tool right. You've spent a lot of time writing a screenplay and you want someone to read it. More times than not it is your story's Logline that controls the action of the thumb. Sounds pretty cold but that's the way it is.

How do you create a Logline that will stun? Be clever but not cute. Cut to the chase because you have no choice. Capture the story's throughline. Some writer's like to utilize a template but I have found that to be too structured and dry. A better way is to answer specific questions about the screenplay and fit them together in an imaginiative way.

Start with answering the following questions:

Who is the story about?

Without using a name (I.e. girl, man, etc) describe what kind of person this is. It could be what he/she does for a living or a personality description but let people know that this is the protagonist. This is the hero who is taking the journey. Also, all good Protagonists have flaws so it would be a good idea to throw that in there as well. For example, a pyromaniac fireman or a forgetful IRS agent.

What is this person setting out to accomplish?

This is where you set up the Protagonist's goal and what is to be presumably reached by the end of the story.

Who or what stands in this person's way?

Your party crasher here is, of course, the Antagonist. Why is he, she or it the worst of the worst?

In some instances, you might need a setup to come before your Logline. This is perfectly acceptable. A setup might go something like "In nineteenth century South Dakota,..... or Under the sea during the Punic Wars,...

The amount of Logline instruction out there can fill volumes, but even with all that information quite a few people just cannot seem to get it right. If you know your screenplay inside and out as you should, then answering a few questions about it shouldn't be rocket science. After that, give it some "flash."

Examples

 *Aliens try to invade earth on Independence Day. (Independence Day)

*An attorney, because of a birthday wish, can't tell any lies for 24 hours. (Liar, Liar)

*A Soviet submarine captain uses Russia's ultimate underwater weapon as a means to defect to the west. (The Hunt for Red October )

*A private detective must team up with an ex-football star to catch the killer of a topless dancer. (The Last Boy Scout)

*(Ref: http://www.inktip.com/tips-loglines.php)

Query Letter

If you're going to pitch your screenplay in writing, then you'll need to master the art of the Query Letter. Unfortunately, everyone thinks they know the right way in which to fashion this correspodence, which can lead to utter confusion. Fortunately, there are tips and guidelines that competent screenwriters follow. Let's look at an example of how to structure a Query Letter.

Part I

Contact information

Lance Manion                                                                                                                            1003 Colony Road
Rolling Hills, CA 90274

• This should appear in the upper right section of the page.

Part II

Date

• This should appear a couple of lines below the contact information.

Part III

Recipient Information

Executive's name
Executive's title
Address of company

• This should appear a couple of lines below the date
• Make sure you get this information absolutely correct. KNOW to whom you are sending this letter.

Part IV

Greeting

Dear Mr. or Ms. Executive:

• Always use a colon, not a comma.

Part V

Tagline or Logline

• quick enticement

Part VI

Short Synopsis

• One paragraph

Part VII

The Three M's

• Mainstream, Memorable, Marketable (remind them that you know what sells...without being patronizing)

Part VIII

Biography

• If you've experienced something pertaining the storyline, tell them.
• If you've sold other projects, tell them.
• If you've won awards for screenwriting, tell them.
• If Tom Hanks suggested you send this letter, tell them. (You better know Tom Hanks, though)

Part IX

Thank them for their time.

Part X

Close with pleasantries.

Sincerely,
Lance Manion                                                                                                                             555-555-5555
jsmith@emailaddress.com
 

Tips

• Keep it one page
• If by mail, always include a SASE envelope.
• If my email > Subject line: A fantasy/adventure about (....) by previously produced screenplay writer
• Don't ramble. Keep it tight and to the point.
• Don't kiss up to the executive. They've heard it all. Besides, that's the the job of their assistant.
• No grammatical and spelling errors.
• DO NOT send your screenplay unless directed to so.

Synopsis

A Synopsis is your screenplay storyline condensed into 2 to 3 pages. As with the Logline, the synopsis is a marketing tool as it is succinct and to the point, albeit more detailed than the Logline. Busy decision-makers again prefer something short and to the point...and absolutely dazzling. Now, usually these decision-makers prefer to hear a Logline first. If they like the Logline, they'll ask for the Synopis. If you're really lucky, they'll skip the Synopsis and ask for the screenplay. Don't hold your breathe though. So, to be on the safe side, always have a synopsis at the ready.

Now, there are MANY different approaches to writing a Synopsis but let's look at the most logical way. Use the same outline you would use to outline your screenplay, except tighten it...enormously. Keep it to about 4 or 5 paragraphs. For our interests, we'll use the same outline mentioned earlier. So, your Synopsis outline might look something like the following:

Paragraph I

Opening - Hook - Introductions & Nudges

Paragraph II

Catalyst - Headway - Dedication

Paragraph III

Tightrope - Reversal - Final Push

Paragraph IV

Climax - Aftermath

(Note: The last sentence of each paragraph should have a compelling segue to next paragraph, thus forcing the reader to want read on.)

The Pitch

The Pitch is a short verbal description of a screenplay and its marketiblity, to someone who is interested in either purchasing or financing your screenplay. Much like a Query Letter, but you get to strut your stuff in person. This can be a bit nerve-wracking but after some practice and/or experience it's a snap. I know that sounds a tad overconfident but considering all the CD's, books, and lectures out there that are going to all reiterate to you the same thing but with unique colorful approaches, one must trim the fat, cut to the chase, and take charge.

The bottom line is to entice the executive into wanting to buy your screenplay. Captivate the investor into wanting to finance your screenplay. In the interest of saving you, the Mac N Cheese-eating screenwriter, a little coin, behold the key to the Pitch:

                       KNOWLEDGE, ATTITUDE, PERSONALITY, PASSION 

If you are cool on these points in the meeting, you'll do fine. Imagine you're JFK for thirty minutes.

Let's look at one "basic" outline of a how Pitch may be structured.

Of course, begin with pleasantries and small talk. Let them get the impression that you don't live in the dark basement of your mother's house.

I. Genre

• The first thing you should approach is the genre of you screenplay. It gives them an initial mindset.

II. Statement

• Start with something like "Imagine you have..."
• Set the stage with a wondrous thought about your concept.

III. Logline

• State your Logline.
• This will whet the appetite. It is possibly that it is the Logline that got you here so reiterate it.

IV. Introduce protagonist

• "The story revolves around..."
• Tell them who the hero is. They don't have to like he/she yet but they have to relate to him/her.

V. Synopsis

• State your synopsis.
• Be natural. By this, I don't mean glance around the room as though you've memorized it. Tell the story as though you are relating something that actually happened. Pretend the execs are your buddies.
• Ask if there any questions, then move into...

VI. The Three M's

• "Mainstream, Memorable, Marketable"
• Discuss how wonderful this screenplay would be by touching upon the Three M's. This will lead to...

VII. Production

• Pretend you're the producer. What would YOU do to make this project work?
• Who would you cast?
• What would the budget be?
• How would you market this project?
• What does film does your concept resemble? (hopefully ones that bought Aspen homes for the execs) This is only one approach to the Pitch. There are many others out there. Find one that fits your comfort level and, like your Protagonist, strive to achieve that shining goal.

The Tagline

The Tagline is a memorable one-sentence advertising catchphrase created to stimulate interest in a film. A masterful Tagline will set the precedent of the film in such a fashion that it will jump out of the advertisement and spark a word-of-mouth campaign so dear to a studio's heart....and bottomline.

The Tagline almost always sits directly below the title of the film on marketing materials such as movie posters, handbills, and periodical splashes.

Some memorable examples:

• The Night He Came Home! - Halloween
• Long ago in a galaxy far, far away - Star Wars
• The truth is out there - The X-Files
• Houston, we have a problem - Apollo 13

Contracts

Probably, the three most common contracts a screenwriter will come across, if they're lucky, are the Release Form, the Option Agreement and the Purchase Contract.

*Screenplay Release Form

The Screenplay Release Form is for everyone's protection, producer, writer, etc. When you first submit your script you're going to come across these forms provided you by the reader of your work. Anyone who does not have you fill out and sign a release form is not reputable. Your Uncle Walter doesn't count. In a nutshell, the Release Form states that you, the writer, retain all rights to your work and that no one may do anything with your work without your permission. Someone else can read it and that's it. This protects the reader in that they can say they're hands are clean if your script is stolen by some other entity because they will have adhered to the confidentiality clause of the release. If the reader decides the script works for the him/her/company, then you might move on to the Option Agreement, or maybe even a Purchase Contract.

Let's look at an example of a "bare bones" Screenplay Release Form:

Dear Sir(s),

I am concurrently submitting to you with this release for a screenplay currently titled:______________________________ (Hereinafter the "Material"). I agree and understand that:

1) Because of your position in the entertainment industry: a) you receive many ideas, formats, stories, suggestions, and other materials which you do not solicit or otherwise request; b) you generally do not consider, or review unsolicited material unless the person submitting the material has signed this Agreement; c) you would not accept, consider or review the Material if I did not sign this Agreement; and d) no confidential relationship is established by sending the Material to you.

2) I may submit the Material or similar material to persons other than you. I have kept at least one copy (or a duplicate) of all the Material submitted to you.

3) You need not return the Material to me. If you choose, you may make and keep a copy (or duplicate) of the Material, but are not obligated to do so. In the course of professional evaluation and consideration you may present the Material to third parties.

4) You will review the Material within a reasonable period of time after you receive a copy of this Agreement, which I have signed. If you decide that you wish to use the Material or any elements or aspects of the Material for any purpose, then you and I may negotiate in good faith to reach a written Agreement covering your use of the Material and any compensation or payment.

I am not waiving, and this Agreement will not limit, my copyright of the Material. I understand that you may use in any fashion: a) any matter which is made available to you by other sources, and which contains elements or aspects which are similar to protectable literary property contained in the Material; and/or b) any elements of aspects contained in the Material which is not original with me, new, unique, concrete, and novel and/or which is in the public domain. I will not sue you or bring any action or proceeding against you if you use such matter, and you are entitled to an injunction or other equitable remedy if such a suit, action, or proceeding is brought.

You have no obligations to me (including any obligation to compensate or make payments to me, unless you expressly agree to so), except for those expressly stated in this Agreement.

I hereby state that: a) the Material was created and is owned free and clear of all other interests only by me; and b) I have full right to submit the Material to you and to comply with this Agreement. I will fully reimburse you if you incur any losses, damages, or expenses (including lawyers' fees) because any or all of the statements made by me in this Agreement are not true.

If either you or I transfer, assign, or license any rights under this Agreement, the person making the transfer, assignment, or license will still be responsible for performing his/her/its obligation under this Agreement.

If more than one party signs this Agreement as the submitting party, then references to "I" or "me" throughout this Agreement shall apply to each such party, jointly and severally.

You have made no representation, oral or written, of any kind to me. This Agreement states our entire agreement. This Agreement is governed by and construed under the laws of the State of California, applicable to agreements entered into and to be fully performed therein.

Screenplay/Treatment/Outline

Title:

Writer's Guild Registration #:
(If applicable)

Date of Submission:

Author Name(s):

Street Address 1:

Street Address 2:

City:

State:

Zip:

Daytime phone:

E-mail:

Signature(s):

Date:
 

*(ref: http://www.empirecontact.com/marketing/release.html)

*Screenplay Option Agreement

The Screenplay Option Agreement, simply stated, declares that a would-be purchaser (producer) of your screenplay pays an upfront fee (option fee) for a right to acquire actual ownership of the screenplay for an allotted amount of time. The producer's purpose for doing this is so he/she may shop the screenplay  around to others who might want to collaborate in order to produce the work. As long as the producer holds your screenplay in "option" no one else can touch it, meaning you may not shop it to anyone else. So, be careful before signing off on one of these agreements because the producer basically owns the rights to it until the "option period" has expired, which can be upwards of two years. Hollywood is loaded down with optioned scripts. On the up-side, hey, someone is interested in developing your screenplay into a movie.

Let's look at an example of a "bare bones" Screenplay Option Agreement:

___________________________
Title of screenplay

___________________________
Author

___________________________
Producer

This letter, when signed and dated by you, ________________, and returned by mail to me, _________________, will confirm the agreement between you and I regarding any and all motion picture, television, broadcast, home video, remake, sequel, CD-Rom and all other computer-assisted forms of media, merchandising, allied, subsidiary and ancillary rights now known or hereafter invented throughout the universe and in any and all languages (exclusive of book publishing) to the screenplay written by you called _____________________________.

OPTION

In return for $______, development services and other valuable consideration, receipt of which is hereby acknowledged, you hereby grant me the exclusive option to purchase the Rights to the screenplay for an exclusive period of ___ months from the date of my receipt of this signed contract. It is also agreed that the option may be automatically extended without any additional consideration at the end of ___ months for an additional ___ days by giving notice if there are negotiations with a buyer in order to conclude negotiations. The option may be extended on the same terms for an additional ___ months upon mutual written consent.

If the property is set up with a production company, the option may be automatically extended for a period of ___ months upon notice and payment to you of $_________. Thereafter, the option may be extended for an additional ___ months upon notice and payment to you of $_______.

PURCHASE PRICE

1. Theatrical Motion Picture

If the initial release is a theatrical motion picture, the purchase price is __% of the "direct approved budget" (i.e. excluding legal, interest, contingency, overhead, and completion guarantees) with a floor of $__________ and a ceiling of $___________.

2. Television Movie

Network: If the initial release is a television movie for a U.S. network (ABC, CBS, NBC, FBN) the purchase price is $___________.

Cable: If the initial release is a television movie for a cable or non-network broadcast, the purchase price is $______________.

3. Sequels, Prequels, Spinoffs

50% of original.

4. Remakes

33 1/3% of original

5. Television series

For a U.S. broadcast network (ABC, NBC, CBS, FBN) prime time series, payments will be $_______ per produced episode of up to 30 minutes; $________ per produced episode up to 60 minutes; $___________ over 60 minutes.

For a series on any other broadcast or cable entity, payments will be $_______ up to 30 minutes; $_________ up to 60 minutes; $_________ over 60 minutes.

WRITING SERVICES

And additional writing services shall be paid according to appropriate WGA minimums.

PROFIT PARTICIPATION

___% of 100% of net profits from all sources to ____________(Production Company.)

You warrant that you, ____________, have (a) exclusive 100% ownership of the Rights free and clear of any claim, right, adverse interest or encumbrance and (b) the authority and unencumbered right to enter into this Agreement and grant the Rights to me.

Until such time as we execute a more detailed document incorporating these and other provisions standard for such agreements in the entertainment industry, this will constitute an agreement binding on ____________ and ____________ and their respective successors, assigns, heirs, and legal representatives. ____________ (Producer) shall consult with you or your representative regarding the assignment of the Agreement but shall have at her sole discretion the right to assign this Agreement or any of her rights hereunder, but no such assignment shall relieve her of her obligations hereunder unless the assignee assumes all such obligations in writing.

This Agreement constitutes the entire understanding between us with respect to the subject matter hereof and no modification of this Agreement shall be effective unless it is in writing executed by us both. Nothing contained herein shall be deemed to create or constitute a partnership between or joint venture by us. This Agreement shall be construed in accordance with the laws of the State of _________ applicable to contracts negotiated, executed, and to be wholly performed within said state. Reference to _______________(producer) shall include ________________(production company) and conversely.

ACCEPTED AND AGREED:

_____________________________
Name

_____________________________
Date

_____________________________
Name

_____________________________
Date

*(ref: http://www.absolutewrite.com/screenwriting/screenplay_option.htm)

Purchase Contract

Screenwriters love these because they mean you're selling your screenplay. The producer is essentially saying he/she loves your work and would like own all rights to it. Not only will you get compensated for you screenplay but also for any rewrites that might (almost always) come along. See the WGA guideline for that.

Credits

In a town where reputation is everything, credits in screenwriting represent your badges of accomplishment. Credits for successful films is, of course, the ultimate goal, but if you're just starting out, even bad credits are better than no credits at all. Write a screenplay, have it produced and you're in the "club". The "club" of produced writers.

Now, there always seems to be some discrepancy as to what kind of "writing" credits one receives for any given film. Written by, Story by, etc. Well, the WGA knows. You should too.

Screenplay by                                                                                                                             This is the credit you receive if you the screenplay you've written is based on someone else's story.

Story by                                                                                                                                         You receive this credit if you're the one who actually penned the story but did not write the screenplay.

Written by                                                                                                                                    This credit is the one you want. This credit says that, not only did you write the screenplay, but you created the original story as well.

Other credits you might see are:                                                                                  "Created by" which is credited to someone who created an idea for a television show, but did not necessarily write the teleplay.

Or "Screen Story by" which is given to someone who might "punch up" or modernize an original story.

There are other forms of writing credits and those entitlements sometimes get as creative as the writers themselves, but strive for the all-inclusive "Written by".

Registration/Copyright

It's important to protect your work when you finish material drafts, which may include a treatment, a first draft, a second draft, and a final draft of a script (across any forms such as screenplay, stage play, radio play, series, comic, etcc.).    Many writers would register each of these.

To "register" a work, it means that you're putting a line in the sand.   You're stating formally that you completed said work with given contents on this date.   

There are two popular places to register work, both completely credible and reliable.  They are ProtectRite and The Writers Guild of America.

ProtectRite

ProtectRite is the creator and pioneer of online intellectual property registration.   Founded in 1994, they act a disinterested third party, establishing a completion date of your registered materials and the security of long-term storage in the event your original is lost or destroyed.  

Writer's Guild of America

The Writer's Guild of America is another option for registering your work.  They've been around for decades and started offering an online registration service circa 2004.

Contact information:

For west coast:

http://www.wga.org/

or mail to:

WGAW Registry

7000 Third Street

Los Angeles, CA 90048

For east coast:

http://www.wgaeast.org/

or mail to:

WGAE

555 West 57th St

New York, New York 10019

Unions

Writer's Guild of America

The Writer's Guild of America (west or east) is really the only union a screenwriter should be concerned about unless said writer wants to branch out and be a director, actor, producer, longshoreman or trucker. They've got unions for those guys too. The Writer's Union basically says it's got your back. For a small fee, it makes sure everyone plays fair in film industry when it comes to exploiting the screenwriters. Well, not so much "exploiting" anymore since the screenwriters recently cost Hollywood around 3.5 billion dollars in revenues during the last strike. Ouch.

Now, getting into the union is not as easy as walking into the guild and announcing your presence. The Guild works on a "unit" system and so many units are needed to qualify for membership. (see WGA.org for details)