Screenwriting : Random question by Malaika Eve

Random answer: check with the guys uve signed with...options drop off any minute or so, so not a big deal...if uve got a purchase, enjoy your money and off to the next script...

Juan Seattle https://www.stage32.com/blog/Film-That-Started-as-a-Pitch-on-Stage-32-is...

I don't think it's that strange, Juan Seattle. You ever checked out the list of winning Nicholl Fellowship scripts? It's widely regarded as the premier screenwriting contest. Even placing in the Nicholl Fellowship is considered an accomplishment greater than winning the majority of other contests.

They usually name five winners each year (there have been exceptions), and since 1986 only 18 of those winning scripts have been produced and there is usually a gap of several years, even a decade, between winning and production. But although the vast majority of those scripts have never been produced, some of those writers have gone on to staff writers rooms, sell other scripts, make connections, and build a career for themselves.

S32 offers a means to connect with people who might be able to move us a step closer to production, but it's a long journey, fraught with difficulties and obstacles to overcome. Even experienced filmmakers have suffered the hardship of a production being pulled shortly before shooting was due to start.

A script request doesn't mean the script is what the requester wants. A script being optioned doesn't mean it'll be sold. A script being sold doesn't mean it will ever be made. And the script that gets a writer noticed might not be the one that gets them produced.

I look at those S32 success stories, and I'm seeing scripts optioned, writers signing shopping agreements, somebody hired to co-direct on a feature, producers being attached to scripts, projects in development, and multiple people finding representation on just the first page of Success Stories, and all of those are a success.

It wasn't with a major/well known production company but I nearly sold a script around this time two years ago and got major cold feet. It was actually one of the toughest nights of my time screenwriting. Everything was going fine and I was on top of the world until I was told they couldn't make the script as is due to the drugs content and profanity. We'd somehow gone from wanting to make a modern day True Romance fused with Thelma and Louise to a Lifetime movie. I'd already hacked the script up a bit to suit a much lower budget.

I tried to sleep on it but it was impossible. I knew it was crazy to go ahead and it was a case of forcing a square beg into a round hole. I also knew there was a chance that I was cutting off a relationship forever and effectively killing my career. I messaged to say I couldn't go ahead with it in the early hours of the morning UK time.

The producer-director was actually really good about it and totally empathised as an artist. Someone along the chain told them to drop me and go find another screenwriter (since we're everywhere, right?) but they stuck with me and I actually wrote something more appropriate we hope to shoot soon.

I learned to stick with my artistic roots and that, like or not, my specs are pretty precious to me. Far more precious than money. I''d much rather be asked to write something new, to suit a prodco than have them buy something that needs butchering. I'd be gutted now if I'd lost that script and had some movie out there that doesn't represent me at all.

It's incredibly rare for a screenwriter, especially one who's trying to break in, to sell to a well known prodco. The stats are daunting but the problem is mainly that so many amateurs want to go straight to the top of the industry with a lottery winning type deal that makes them the hottest writer in town. The road, even into the lower-level, is incredibly long and every meeting, endorsement, connection matters.

Juan Seattle. I'd suggest you're judging success in this instance on the wrong criteria, or at the very least, asking the wrong questions.

Stage 32 provides resources that can be used to find agents/managers, producers, etc. but the chances of anybody happening upon a script, whether through networking, pitch sessions, script services AND being in a position to just buy the script is so negligible we might as well say it doesn't exist.

Filmmaking is a collaborative process. Aside from any filmmaker in a position to simply shoot their own stuff, scripts aren't produced based on the opinion of a single person. Any script, from the low-budget indie to the Hollywood blockbuster has passed through a number of hands before anybody even starts negotiating the sale. Those negotiations don't happen on Stage 32.

What Stage 32 celebrates is their role in the process of a writer finding someone who can help them realise their potential and career ambitions. They're offering to help you up the first few difficult steps of a ladder, but ultimately, they're not able to help you all the way to the top.

This isn't a place that's going to get your script sold, and if that's your criteria for what constitutes success then you're looking in the wrong place. Here is a place that may be able to help the writer reach that point of their career in the future, by offering them opportunities to develop their craft, develop their pitch technique, build a network, and get their scripts in front of people who might be able to give them pointers or nudges in the right direction.

But inevitably, there is a limit to what Stage 32 can offer because even if a writer bought a development call, got their script in front of someone who absolutely adored it and wanted to put every effort they could into getting it sold and produced, there is still a long way to go from interested party to contract signing and sale.

No, and, no. It's not a baby, it's a product. You sell products. You raise a baby. If you have feelings for it as a baby, then pass.

My spec screenplays were written with the intent to sell, so I never got cold feet.

Juan Seattle. I believe you misread the question. He asked, “has anyone here signed a deal with a major/well-known production company and gotten cold feet?”

He did not ask if anyone has sold their screenplay to any major/well-known production companies here on Stage32.

What? If you signed your script away, wouldnt that mean the buyer owns the script and can legally fire/"we're going in a different direction"/ dismiss the first writer/creator?

I'm okay if the check's okay.

It is called imposter syndrome. When you suddenly have the feeling people will discover you are a fraud. I on the other hand are an arrogant over confident white male. So the world is naturally mine… Unfortunately there is some truth in that.

take the money run - this is Hollywood - you may not get another chance

Richard Bruce Sterling's answer made my day! Take the money and run

Isn't that the point? To sell your work?

You are going to write 100 screenplays in your career. You have 99 other babies. Just keep writing screenplays.

This is not the only "baby" you will ever have. Take the money. If you want complete control you will have to produce the thing yourself and even then the people you work with will change things because that's how it works. Complete control really only exists in novels. I write them too so if I do manage to get anything produced I'll always have the book.

I feel there always a level of apprehension with any contract signing, it's a big step, but a necessary one to further your career, and one that most of us writers want. As stated here by others, it won't be your last creation, and as the saying goes, " you never forget your first ". Do your diligence, make sure the production studio is legitimate and have a lawyer/manager examine the contract thoroughly. There's piece of mind in being certain.

I find it so utterly bizarre that anybody could be into screenwriting for the money. Talk about a hard and self-destructive way to make a buck.

I don't need the money. I find that writing screenplays to be an enjoyable pastime - that's why I continue. I also enjoy the production process but more than anything else, I enjoy helping others along the rough road. Now if/when someone wants to buy one of my scripts - I'm okay with that. What I'm not okay with is dealing with some low-life scammer/conman. That's why I say that if the check's okay. I'm okay.

I hear ya. I just find it so weird when people in the creative arts willing want to devolve the professional side into something akin to factory labour. Like, go and get a job in programming. You'll likely earn a lot more and not have to wait years to break in.

That said, when it all lines up and you get to go into production with people on your wavelength AND put bread on the table. Magical. Chef's kiss.

I can absolutely understand someone sticking with their gut and turning down a sale because it doesn't align with their needs. I'd even argue it can be a key element in building a respectable career.