Screenwriting : Pricing for screenwriting services by Ben Hinman

Hi Ben,

Pricing aside, I think having a legal agreement in place like a binding contract, is key here. Even if this person is someone in your network, it's not uncommon for people to ask new writers to write something for them, not hold up their end of the bargain and walk off in to the sunset (and perhaps shop your work). So contract and register your work before sharing.

Kind Regards,

Eoin

Thanks Eoin but i'm really trying to figure out the pricing here. Not just what to price it at, but mostly even, what to bill for.

Nick Assunto - Stage32 Script Services he's an indian producer, says he's worked on 20 features before, it sounds like he wants a netflix deal, the book is about indias broken prison system. i'm trying to learn more about exactly what i need to do. At this point i'm not concerned with whether this is a legit production or a passion project... my concern is making a profitable career from my writing. Either one is fine with me as long as the check clears. I just need to know what the invoice should look like.

I use the same critieria for this stuff as other business in my life.

1) I ask the chance of it being made.

2) The budget they have in mind. That will reflect the quality (an indicator) and therefore how my work may be percieved.

3) What am I willing to take. Regardless of what the market says, if I am happy I am happy.

There are many jobs (not writing) that people love doing for close to no money. That is what they are happy to take.

I agree with the contract/document part. Make sure everyone is on the same page when it comes to how much effort they are expecting from you. That will cause more problems than cash every will.

Hey Ben Hinman my suggestion is to have this producer throw out an offer first. In my experience it is always better to be on the receiving end of the offer rather than trying to name a price. You will know right away when you hear the offer how close or far apart you are.

Before you do anything you have to make sure they own the IP. If they don't own the story rights you are wasting your time.

Ben. Like Jason said the producer should tell you what he or she is willing to pay. I have done a lot of adaptation but I've never charged anyone for my time to read the book. I read the book on my own time and decide if I want to adapt it or not. Good luck!!!!

I'm probably one of the least experienced writers here, only having a catalog of indie music videos and one indie feature produced at this time, but I think Bryan Prince and Jason Mirch make valuable points. If the producer doesn't have the rights to the Intellectual Property, this may be a waste of time altogether. If he/she does, you may want him/her to put out a figure to at least have an idea of what he/she is able to spend. Finally, if you don't have any credits and the producer has ip, perhaps any figure is worth considering. I had hell trying to get people to hire me for videos without having a video done. So the first video I did was free. The flood gates were open after that!

Bryan Prince thats a good note. I'll check on that. so the consensus is to charge a flat rate, include any R&D under the umbrella of that flat rate, and not to underbid myself.

Jae Sinclair don't work for free, it belittles what we do. I can't tell you how many productions have been straight up ruined because of this "work for exposure" practice. There are so many things wrong with that. I have been working more cheaply than i am comfortable with in order to build up a reputation. But this guy isn't the only one asking at this point, so if a fair price isn't his speed, it will probably be someone elses.

We'll have to beg to differ on that. It worked for me.

Jae. I am glad it worked for you but it doesn't for most screenwriters who write screenplays for free.

In this scenario, you need to not be guided by pie-in-the-sky promises. This is a straight up work for hire job. You do not own the property, so if it doesn't go anywhere with this producer, you have no chance of selling it yourself. I agree with those who say that you need to let him make the initial offer. And if that offer is zero, you need to understand zero is all you will ever get out of this deal and walk away. As far as minimum threshold, how long will it take you to knock it out? If you can write it in two weeks, what is two weeks of your time worth? If you can make $1000 a week at your regular job, but you'd rather write, then $2000 for the initial job and $1000 per requested rewrite (up to three rewrites) with a contractual obligation to pay you WGA base if it goes into production is fair. In this scenario, you are still getting a basic wage for work and your incentive is that if it sells you'll get what is considered fair compensation by industry standards. Both you and the producer are sharing the risk. If the Producer balks at that, there never was, is, or will be any money you will ever see from this project because the Producer has no plan for generating profit from it. The only way to separate BS from reality is to get the money in hand.

David Trotti that is about what i was thinking as well, certainly its going to involve a lot of R&D to try and be as accurate as possible. Do you think i should get all the payment up front or break it into installments, i.e. half up front and half on delivery, etc? I share your sentiment, money talks, this is not my passion project... I have enough pipe dreams of my own without investing in someone elses.

I have more information now as well. The producer mentioned being involved in several hindi language films which my indian friend did recognize. Although i think it is strange that he is reaching out to english language writers, i will have to confirm that he wants the final language to be english. He said he has a previous relationship with the publisher over the past films he mentioned and has already discussed an adaptation of this book with that publisher but does not yet own the rights. He said he is looking for a "different perspective", i think this probably means outside his bollywood contacts.

If you're a beginning screenwriter, and they're willing to pay you, take them for everything they've got. There's a sucker born every second. That's if they're rich. If they're not, if they're depending on magic, I'd watch out what you promise you can do.

Brian Butler I'm not making any promises i can't keep. Finishing a screenplay isn't hard for me. And i'm not looking to scam anyone... If people hire me, they will be getting a well researched, well written screenplay that a lot of thought and effort went into. Whether or not they can market that screenplay is their problem.

The crux of it is that it shouldn't have to depend on trust that they know what they're doing for me to get paid, only that i know what i'm doing as a writer.

get a legit contract, not a handshake deal, and money in hand first.

There was a successful indie Producer asking/hiring aspiring/award winning, hotshot first timers (0 Union ) writers to adapt a book - all at the same time- without compensation. None of the writers knew they were in a tournament, all scattered across the country/world. Hardly anyone actually sat down with him, face to face, look him in the eye. Just a whole lotta skype & email contact. Yes, the Producer has a legit IMDB page but he couldn't come up w/ 2 nickels to rub. Because he didn't have to - lots of Writers will work for a "LA Producer" for free. Good Luck. It's a freelance gig. Do it professionally, get paid, and move on. It's their project. You're the Help. And that's fine.

Good luck on this - this question does my head in. I agree with most of what’s been written here - about getting paid at least half upfront, staggering the other payment/s if necessary. As a ghostwriter I’ve taken 50% deposits and another quarter three quarters of the way through, final payment when it’s finished.

I particularly agree with letting them telling you what they are willing to pay. That’s what I did last week with someone. I directed them to the WGA minimums, which they said they didn’t know they could pay. They have different types of projects besides a screenplay so I told them to get back to me with what they can pay for a project. Then I’ll decide if I can live with it. We’ll talk this week.

Good luck I’d be interested to hear how things work out!

David Trotti - can you really knock out a screenplay in two weeks? Mine have always taken longer - but then, they’re mine. Could be different if I wrote someone else’s. Love to know if this seems easier and or/quicker (writing someone else’s screenplay).

Dan MaxXx technically, I'M an "LA producer". I'm from LA and i've had a job as a producer. It doesn't mean i'm a high level EP. And its super easy to get IMDB credits, you can even get them for student films. And i honestly believe people who work for free in any industry are a form of economic pollution which destroys hardworking and talent peoples livelihoods. Its not really even legal, at the bare minimum you should be charging for any job is minimum wage... its called "minimum" wage for a reason. Also a reason why SAG and WGA rates are well above that... minimum wage should be reserved for talentless professions. The fact that people will submit themselves to what is basically actual slave labor to essentially get facetime with someone of a higher caste than them... It reeks of systemic abuse. There are a lot more problems to that practice than just driving down the market for freelancers. The idea of an internship doesn't excuse this... Most internships in the film industry are straight up illegal but no one is regulating this.

Lauran Childs the three stage payments was what i was considering doing--1/3 up front, 1/3 upon delivery of the bible / season arc outline and 1/3 upon completion of the actual pilot treatment. But if you say its better to get at least half up front, maybe that is what i will do instead.

I've actually finished a screenplay in a day. Came up with the concept as i was falling asleep the night before and had an hour long pilot (sans the last scene or 2) already written by the end of the next day. I'd have to say that was probably the most productive and easiest inspiration that has come to me, usually it is a bit slower. I would also say the writing and dialogue comes easier with my own concepts and characters, though i do tend to take my time much more often. My last gig i was able to finish an 8 page script within less than a week, revisions and feedback included. The first draft was easy because it was a concept i resonated with that i instantly had ideas about how to execute. The revisions took much longer because i had to find out how to rework the dialogue to be more in line with the clients vision without sounding too unnatural.

Somewhat related to Ben's question. Here's John's advice about collaborating w/ Producers. Chain of title issues when you find a Buyer.

https://twitter.com/johnzaozirny/status/1244889012717776904?s=20

Dan MaxXx Good thread. Thanks for that link. I had a similar problem on the last indie I worked on. Got messy.

Re. Dan MaxXx's post, it's spot on. In my case, there was a producer (not well known) who wanted to work with me on a script I had written. She wanted me to input some of her ideas into the script and have me re-write it.

I told her to send me a contract. She did. The option was so one-sided I didn't even bother to negotiate. "Thanks, but no thanks."

Particularly worrisome was:

"5. In the event the Term expires, all creative contributions written or oral to the script by (producer) may not be used."

Think about that for a second.

Let's say I signed with her on the dotted line. And let's say my script did NOT have a dog in it. So she says, put a dog in it. I do. Just a simple appearance of a dog. Doesn't add anything to the story, just a bit of cuteness. Later, things don't work out between us and we go our separate ways.

Now let's say a studio is interested in my original script. But they say, hey, you know what, it'd be cool to put a dog in the script. Just for one scene. People love dogs.

So I do. They agree to make the movie. Contracts get signed. Announcements are made. The first producer comes across the announcement and says "interesting".

She hires a lawyer. Lawyer files a lawsuit. The studio, knowing she won't have a leg to stand on decides to shelve the project anyway because they don't want to be bothered by the time and money and aggravation this lawsuit will bring.

So they say, sorry, but we'll be moving on.

Long story short, watch out.

Ben, it's up to you and the 'someone' to negotiate up front and set it down in signed contract/agreement form. Pretty simple really.

What do you feel it is worth to you to produce a product that expansive and at a quality level you would be proud of?

Thanks for your replies Ben and David - interesting!

Doug i've asked you several times to stop commenting on my posts, the only reason you're still here right now is because this website lacks a blocking feature

Tom Batha Dan MaxXx I appreciate the concern but in both this case and the previous one i am not invested in the outcome of the script. I don't even WANT the rights to it after i've been paid, this is not my baby, its theirs. IF something big happens with it, then cool, i have my name attached. But i will keep your advice in mind when dealing with my own personal projects.

Ben - sorry; but I don't recall your request. Please forgive me, for I'm old and forgetful. I'll try very hard to refrain from offering you any incite/advice/observations in the future. My humble apologies.

Hi Ben Hinman,

Not sure what all this is about, and I do know some comments can hit a raw nerve. But this site calls for calm, support and just being nice. I'm saddened by your comments especially during these trying times. Let's be nice, people.

Interesting. My comment is yet to come up.

Sorry Doug Nelson my apologies, i was the one who was forgetful. I've confused you with someone else.