Screenwriting : Inktip and the like, useful or not? by Geoffrey Rowe

Geoffrey, when I found out about Stage 32 in January of last year, I started putting my own screenplays on it. Nine months later, I began putting those scripts of mine on Script Revolution.

It's free to put your scripts on both of these sites...and, if your experience is like mine, your screenplays WILL get read. (Just ask the man who started Script Revolution, CJ Walley. He's a regular contributor here at Stage 32, too.)

I've got to be honest...I never gave Inktip a thought after stumbling onto Stage 32.

Glad you're here on 32, Geoffrey! All the VERY BEST to you!

Thanks for the advice and guidance Jim. I have a pilot but I know it isn't ready for prime time just yet. I think my concept is good and I did a written pitch with some good feedback on the concept, so when I think I've ironed out those holes, I'll be posting here for sure! I'll check out Script Revolution too. I think it was you who mentioned it yesterday?

Inktip was good to me several years back but I get the impression that's no longer true.

I'm fully on the side of doing it indie. I almost exclusively create TV concepts, and doing it indie means producing (and locally funding) a sizzle for each show. So, my advice would be to sock that $60 away until you have enough to do the sizzle.

I've had several scripts opted on inktip and even had one produced. I been on there for about 6 years. I do believe you should promote yourself as much as possible and make as many connections as possible, in as many places as you can. You're your own best agent!

Hey Geoffrey Rowe - I am the Director of Script Services at Stage 32. Have you considered pitching your project for feedback on Stage 32 or connecting with an executive directly for coverage or consultation calls? In all honesty, sites that have you pay a monthly recurring fee to leave your loglines and scripts on their site are happy to collect your money, but there is no way of really being proactive beyond that.

Here, the power is totally in your hands. You pick the executive you want to pitch to based on their credits, experience, and sensibilities. Even the executives who have their names private on the site give you a full bio to review and critique. You are able to be proactive in your career instead of reactive, waiting for someone to hopefully reach out to you.

The other thing these other websites don't have is our Script Services team. I've been in the business for over 15 years working in every aspect of the industry from representation, development, finance and production. Every executive I know personally and we are constantly talking about what they are seeing in the market and how it can impact your career. That is a massive advantage for writers who are hearing what I am hearing.

Hit me up at j.mirch@stage32.com and let me know what you're working on! I would love to be of help.

I secured several options and right to shop agreements by using Inktip. These are about half of them.

https://www.inktip.com/main_total_deals_closed.php?sel=16

https://www.inktip.com/main_total_deals_closed.php?sel=14

https://www.inktip.com/main_total_deals_closed.php?sel=18

https://www.inktip.com/main_total_deals_closed.php?sel=17

https://www.inktip.com/main_total_deals_closed.php?sel=15

Jason's right, there's a wealth of services here at S32. Explore those first. Yes, I've had some success with InkTip in the past. But I've noticed lately that the bulk of the producer listings in their weekly newsletter are for the same extremely low budget-type scripts that pay the writer next to nothing. Might as well shoot & produce a script like that yourself over a weekend and make some decent money.

Jason Mirch Thanks for reaching out! Actually I have used your services. I did a written pitch a couple of weeks ago, to Bobby Sleeth, and got some good feedback. You're right that the opportunity to pitch to a specific producer is a great advantage

One thing I'l working on is the differences between TV writing and feature. I studied feature writing at UCLA and figured there were some differences but between here, some books and looking at some TV scripts I've a good idea on what those differences are now.

I am definitely going to hit you up via email about what I'm working on!

Hey, Geoffrey, I sold a feature on Inktip in Jan. and it was scheduled to start shooting in April; Covid19 postponed that of course, but with luck it will shoot next month. I also have a shop agreement through them with a producer who got my script to Netflix, where it's currently in the read pile. Inktip is expensive but the script is up there for 4 months and if you list others, the price goes down as long as they are posted (I think) within 30 days apart, or something like that. ST32 is great, too - I just haven't has much luck here yet...but that is not a deterrent.

I've had scripts on InkTip and I read scripts from InkTip as a producer. All in all, they are a pretty good service to have as part of your arsenal. On the producer side, they reach out to me regularly to ask what I'm looking for and make suggestions. Make sure you have a killer logline. I mean killer! They print a magazine filled with loglines for producers to read through.

As a writer, you get updates on who's looking at your synopsis and scripts. Good luck, Geoffrey.

My writing is so niche that very seldom will somebody ask for submissions or be looking for something in my genre on Inktip. I still occasionally look at their listings, but they never pertain to me so...

I've had nibbles but no bites on inktip, but all and all, their customer service is great, and really just a well ran website. Their newsletter is pretty good too. I recommend.

I’ve paid to be on there - and I think I paid to be on the list they send round to producers. Nothing happened.

When I was shooting a feature in LA, I took the Raptor we'd borrowed from the Top Gun: Maverick production and dropped in the Stage 32 offices.

RB was just back from Chicago where he was on the set of a feature he'd produced and Amanda was in the midst of selling projects, one of which I've since learned has sold.

We spoke about writing, film production, and our experiences on set for the duration of my visit.

Seems your knowledge of people's careers is right up there with your knowledge of how Shane Black broke in, Damian Lloyd.

Where can I find that meeting?

Good point. The concern I have with putting money up front is often there's no proof the money is buying anything. A person writes a script and there are many way for everybody except the writer to make money of the script.

Think about it VERY carefully. Do some digging on IMDb Pro, find some contact details, do the dirty work yourself and shoot them an email (or, if you're the old-fashioned sort, write and send them a letter via snail mail).

Yeah, the Shootin' The Sh*t with Shane webinars today and Saturday are for Rockstar members of Script Revolution only so they can get their questions answered. I did run one with fifty places free to non-members a couple of weeks back and may run another. They can be super-intense though and that last one was five and half hours long.

If I do open places up, I try to let people on Stage 32 know about the opportunity via my wall and the Your Stage lounge. We're not allowed to post promotional stuff directly in here and a post would be classed as such.

Thanks for mentioning it, Paul Gerard Grammatico and I look forward to seeing you later. As someone in the business of making films, it's great to share the knowledge.

I think it may be helpful to keep something in mind when looking at this. Even if a production company or producer doesn't have E.T. on their IMDb, it doesn't necessarily mean they're not worthy of your consideration. Would you rather have your script just sitting on your computer, or possibly made into a feature - albeit low budget? Getting a point on the board can speak volumes about you as a writer. It's a process. And for most a very long process. Don't discount anyone based on past credits. Everyone is out there hustling to get great things made. All it takes is the right combination of material and people. You never know.

Another point - I've always thought that if an amazing script was just dropped in the bathrooms in Grand Central Station it would somehow find its way into our cinemas and onto our screens. Consider the possibility that you may not be getting results because you're missing the mark in some way. Your logline is off? Or your script needs another draft?

Keep writing! Be amazing!

That's funny A.S. Templeton, that has happened to me numerous times. In fact, I feel like I get all my buzzing from the site just when the subscription is about to run out...

Also, I'm starting to feel like websites like Stage32 and Script Revolution are the future for screenwriting/networking. Mainly because the paywall of blcklst and inktip is started to feel outdated. Much like screenwriting contests that take 10 months to tell you the results. I don't mind paying for a service, but I'd like to get something out of the website without paying as well. Right now, Stage32 and Script Revolution are my favorites for that...

Yes, I like Stage 32 too!

Regarding the topic of industry members, credits, and if they are worth working with, I have a blog on this; A Screenwriter’s Basic Guide to Analysing Early Offers

@MichaelYurinko, I 100% agree with you, and given the stage I'm at I'd be happy to work with the assistant to the assistants assistant at any studio or production house. I totally take your point that it is better to work with someone than wait for Stephen Spielberg to call.

In fact I would welcome working with people who are new to the business like me. We can all make dumb mistakes and laugh at each other rather than making Cats!

On that note, I'm in my 5th rewrite and my logline still sucks, so situation normal!

CJ Walley Signed up today for Script Revolution!

InkTip used to be much-more “helpful”—and l’ve used it for, seemingly, at least a decade. But in the past 6 months to a year, it has offered increasingly limited possible “script-submission-genres—which is fine if you write thrillers or horror scripts or an incredibly-narrow request, like bisexual politicians with gambling addictions, in one or two locations.

As l write credible comedies (a dying breed, sadly)—the world needs more films like “When Harry Met Sally” and “Tootsie”—I see fewer and fewer opportunities in InkTip. It costs $60 for 6 months of once-weekly listings of from 7 to 10 or 11 “Requests”; not that much, but l’m lucky these days to see more than 1 or 2 opps per month.

Stefano Pavone Blimey Stefano, actual letters! How 20th, as the hipsters might say (in a script). Yes, totally agree as this is a good way to stand out these days.

Hi Geoffrey,

Any service that can document success stories for writers is okay with me. InkTip has a long history of doing that, and just this month lists a sale and a few options. So at least four writers out there are going to say "I love InkTip!"

Inktip used to get a bad rap here when some writers would say "but it's mostly low-budget/ULB films". I guess those writers don't realize - or didn't realize at the time - that the majority of produced films are low-budget/ULB. They should be so fortunate to sell a script that will be made into a low-budget/ULB film, or to be hired to write a low-budget/ULB film..

Hope that helps, Geoffrey.

Best fortunes in your creative endeavors, Geoffrey - and stay safe!

Is it best for aspiring screenwriters to focus on low budget films and not try for a screen epic?