I joined this site for selfish reasons. I want support, answers, mentoring. Some of you have watched the "never ending thread" which seems to just go back and forth over a fictitious nearly impossible topic of getting your work made into a film ( your script, treatment, or idea) but only getting credit - not money. I am a novelist - first, although I always wanted to write a screenplay, or at least a good treatment. Even if we write [it] does it ever get read? Who will see it? How do we really get it in front of anyone - especially the 'right' person? I am looking for answers. As a visual artist for almost forty years, I find that many of the most successful, in my field, hold tight their secrets, especially in marketing. Is it that way in the screenwriting business? Now that I finally wrote the really 'good one,' how do I get it seen? Do I start at the top? Always my inclination, or do I start in the middle? Do I send it to the producer that I think should make the film? Maybe someone with some history of success will offer some answers.
Screenwriting : Instead of bashing or instead of the "never ending thread" by Michael D. Lancaster
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I don't think there are many secrets, and I applaud you're wanting to keep things positive. The first and best way to get your "really good one" in front of major studios is to pitch it to an agent. If you can get an established agent (notice the word "established") to represent you, they have access to the studios and their opinions are trusted. Major studios don't accept unsolicited work, so you must have an agent. If your script has a juicy role that would be perfect for a big name actor/actress, you could try sending it to their agent. It's a long shot, but if the actor loves it, they can take it to the studio or produce it themselves. Failing that, enter it in the bigger screenplay competitions that have studio reps or agents on the judging panel. If you win one of those, you will gain attention. Even if your screenplay isn't produced, the recognition of your writing talent may get you an agent or work doing other things like doctoring scripts. If you can get your foot in the door and build relationships and a reputation, it will lead to bigger things. Put your screenplay on the Black List. If it rates high enough, the industry insiders who subscribe are notified. And the Black List has just signed a deal with Warner Brothers. Put your logline up on Stage 32, and maybe even your screenplay. The big studios don't troll here, but a lot of producers are members and if it intrigues one of them, who knows. Good luck.
Thank you Mark. It seems you have a simple, almost grass roots, no nonsense approach. I am concerned about Stage 32 and my screen treatment. I know with the right people I have to just register it, protect it and the share it. But even my log line is a giveaway as the characters in my treatment are historical and famous. It's just that no one has yet taken the POV that I have about my (real) protagonist. Once one reads the log line, anyone can grab some history books and see these characters in a new light. So I am trying to protect my work - for now. It's an odd dichotomy.
My recommendation would be to change your log line, in that case. You can do a "working" log line then trot out the other one when you have something signed, with that explanation.
Or start with the first suggestion on the list. Get yourself an agent. All the rest of what I suggested will require you to post a logline.
What is a "logline"?
I think an agent is a good idea. How do I go about finding a top notch agent? I do have contacts one degree of separation from two major producers and thought I might start there.
Jennifer had an interesting idea. However, once I 'find' a log line in a story - it seems like - it is THE ONE, and there can be no other. Some log lines are an over simplification and maybe that's good, but if one finds the line with the real 'hook' then that's the one chance. I believe in the one shot theory. If you can get the right line (and on this one I believe I have it) in front of the one (most) right producer, director, or actor, then that is opportunity we all want. Of course I think that Mark is right re: an agent, but I do have two big name producers and one big name actor who I think I have a shot at consecutively hearing my log line and at least getting my treatment in their hands. If that does not go anywhere, then I guess I will find for an agent.
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Thanks Dan - I am thinking of it that way - a calling card.
Thanks Brian - always good advice. What I am looking for is - how to deliver my treatment to my first choice of possible producers.
situation keeps changing. I post them only because I'm in a foreign country, but I have super lawyers back in the USA