Screenwriting : I wrote a great screenplay. Now what? by E Peña

If it's great, truly great, then the next step is to send a letter of inquiry to agents and production companies. Another step is to enter the top screenplay contests. You can do both steps at the same time. It's not easy getting even a great script into the right hands but those are the next steps.

Or, make sure it is truly a great script before you submit it to anyone to read. Once the prodco/studio readers read it, they pass around their conclusions among themselves and if it doesn't get a favorable review... you're toast.

Jim, assuming the script is great (Eli's specific question) what is your advice on the next step?

Parker, my point is that Eli thinks it is a great script... but don't we all think our scripts are great. It needs outside eyes to assess the 'greatness' of the script. Then, and only then, should he follow Rik Carters advice. I have seen far too many scripts that the writer thought was great and upon reading them discovered missteps and pitfalls that needed to be addressed before submitting them to the critical eye of those that have seen tons of scripts.

Anthony D Paul, that is great advice, a writer should never stop writing because one project finished, if you have other ideas or inspirations keep writing. Start small projects, but continue to push the other out as many avenues as possible. I have one I started writing 6 years ago, nearly 25 re-writes, and finally got one person to take a look at, they still haven't gotten back to me. The point is keep writing, because even if you do have the diamond in the rough, they will want to see what else you have, because to most people you area dollar sign. I wish you the best of luck.

Jim, I understood your point; make sure the script is great. I was wondering if you had any advice on his actual question. He hasn’t even written a script. He is wondering what the next step is AFTER a writer has written that great script. I, too, am curious. Okay; have a pro look at it. Then write another one. Start small projects. Make a short. Good advice. What is the next step with the script that was seen by a pro and is now good?

Find the method to make sure the script actually is great, then send out a blast of e-queries to managers, producers, agents. Most likely a manager will respond to a new writer. E-query: title and genre in subject line. Maybe 3 sentence synopsis that focuses on the amazing concept. Maybe 3 sentence bio of why you are the expert writer for this story. Oh, always addressed to a person, not a Resident or Occupant...

Good advice from you and Rik. Thanks William.

Awesome. I truly learned a lot! Thanks Guys!

The team is very important

Write another and another. Unfortunately, you're not a screenwriter with one screenplay. You're just a guy/gal with a screenplay. Agents and managers all say if you are screenwriter, you better have a body of work to back it up. So keep writing.

Yes, write, write, write. Above all REWRITE, REWRITE, REWRITE! The polishing act is what makes any screenplay shine.

Hey Eli. First off, congrats on finishing a script. It's no easy feat. I'm sure it is great. Every writer thinks what they wrote is gold (I do it too!). But a very important part about being a successful screenwriter is being objective about your own work. You might think it's an oscar-winning blockbuster, but the next guy might think it's garbage. The next step would be to get people to read it and get feedback. Send it to whoever's willing to read it. Post it on online forums (the donedealpro.com forums are good for that). Use the feedback you get to make changes. And like Laurie said, REWRITE REWRITE REWRITE. Good luck.

The "what to do next" question is always murky, because it's very situational. First off, lets assume it is a great script, register it with the WGA. Like other folks said here before me, everybody thinks their script is great--as we should (hell, if we don't think it's good, who else would?). But it's still always a good idea to get solid script coverage from both independent sources (which can get a little pricey) and from trusted people who know your work. And when I mean trusted, I mean people who will tell you what they actually think, not what they think you wanted to hear (A friend and occasional co-writer of mine once told me he "absolutely hated" a lead character in a script I wrote once. I needed to hear that even though it's not what I wanted to hear at all). After that you have options, but no sure things. If you have an agent, put 'em to work. If you have an industry contact (probably the easiest way to get somebody to read your script in this biz), call 'em and get them to read your work. If you have neither of those options, you can try websites like Inktip to attract a production company. Then there's the script festival route. Now festivals can be a mixed bag, because you're investing usually around $30-$50 bucks per entry to get in, with nothing even close to a guarantee that you'll "place", much less win. But if it does well, it can definitely help you advance in your career. The last option is the hardest: Try to make it yourself...yup, I went there. Good luck to you, and don't settle on the script you have, keep writing more. The more you write, the better you get.

Thanks everyone for your input. You guys rock!!

You can get a lot of opinions, but the reality is there are specific steps you have to take before presenting your script to anyone. Being that you have some experience as an actor I'm sure you've seen scripts and understand format so I won't go there. First off protect your "property". Register it with the Library of Congress with a copyright and the WGA (I use WGA west). After that you can look into some screenwriting contests that are enlisting your genre. Finding an agent isn't as simple as a phone call but make some calls never the less. If your piece gains recognition from some of the festivals it will garner attention. Once you start the circulation of one piece it's good to continue on to another. In the interim a table read of your piece would be helpful in seeing if your script has good timing and pace to be shot on film (taping the table read is a good idea) or do you have to go back to the drawing board for a rewrite. That's a lot right there, but as time goes on and with alll this networking you will see your way through the rest. Good luck with it.

Great advise! The beauty of competitions is that you can pay for a score card from the reader of your script which can be very worthwhile even if you don't get placed. The criticism is always constructive and mostly encouraging! The most important thing about submitting it or even giving it to someone to read is that it is absolutely the best you can make it and only you can be the judge of that. Good luck!

Register material with the LOC. The WGA registration does not afford you the same levels of protection. Competitions are generally a waste of time unless its one of the big, industry recognized ones and even those are no guarantee, hence the almost non-existent number of competition winners with successful careers.

agreed, avoid industry competitions. that applies to every profession in the entertainment industry. It's really just a glorified intern recruitment scheme and usually not a serious venture.

ok.. I disagree with people who say the next steps once you have a screenplay written are mushy, not specific.. Let me preface that I normally write a script to produce, not to Option. But with either end result... Here's what I do. 1. send my script to 3 people I trust and have them read it and provide comments.... 2. I then re-write... 3. I take my name OFF the screenplay and send it to a coverage writer. ( you can find really good ones in NY, LA, and other cities). I send it to them as a "producer" an get a nice coverage doc. 4. I either hire them as, a work for hire, ghost writer, or I take there notes and rewrite once again. 5. THEN, I hire a WGA writer to do one re-write.... I make sure it's someone who has a professional track record and i've read their work. 6. I take THAT version and re-write again. 7. NOW, I have a script that is probably ready. 8. I bring in friends and/or actors and do a table read of the script. I record the table read, I listen quietly while its going on, and I take notes. I ask opinions, ideas, comments from the people doing the read. 9. I re-write one last time. 10. I have a script that is now ready to OPTION, or PRODUCE. cheers geo

@Georgia... Let me get this straight. You write a script, get coverage, get someone to possibly ghost write it, then hire a WGA writer (who you pay WGA rates) to re-write, then YOU re-write the re-write the WGA writer re-wrote?

Might be why she has no writing credits on IMDB.

ALL NEW WRITERS... Georgia's method is not a good way to grow as a screenwriter. I would never pay a "better" writer to re-write my scripts and then technically paraphrase that writer and pass it off as my writing.

I'm not going to knock Georgia's methods if it works for her. But she says she's self producing all her own stuff, most writers (especially not new ones) are going to do that. Most of the rewriting steps she's talking about happen after a script is optioned anyway (if it's a feature film, TV works so fast, there probably wouldn't be time for 5 rewrites). Plus I don't get why you would hire a WGA writer to rewrite it, THEN rewrite it again. It seems excessive, but it's not my method, so I can't judge.

I'm not going to judge her either but the method is excessive. Everyone has a style that works for them but I think there are basics that need to be tended to then find "your own" way of doing things.

Judgements aside, in this forum question, we are attempting to help a new writer and Georgina's method, in my opinion is not a good example. If she's self producing, do what you want, but 99% of the other writers are not. If you present a script to a producer/studio, they think they are reading you, not a another paraphrased writer, if they find out (Hollywood's a very small place), you could be blackballed.

I agree with Mr. Wilson. Plus, I don't exactly know what category a script written by a WGA member then re-written by a non-Guild member falls as a Guild written script or a non-Guild written script. Seems like it's asking for a problem if the script is optioned to a MBA signatory.

each to ther own.. but as a lot of people say, a script isn't written... it's re-written. ask around with pros. If you are an amazing writer and you can just "write" an amazing script all by yourself with no help... I bow to your talents. I, on the other hand, when working with scripts for myself or my clients, only want one thing, an AMAZING script. Not a good one, certainly not just an acceptable one. I don't write amazing scripts. I have never read a one-shot amazing script, and I don't know ANYONE who has written an Amazing script... without a lot of rewrites and input. I doubt ANYONE here has written a one-off AMAZING script.. I am, however, willing to bet, almost everyone here THINKS they have written an amazing script. Sorry of you disagree with my methods.. and BTW anyone can hire anyone to work on a script WGA or otherwise. I prefer to pay professionals to help ready a script prior to production or of Option, because I want the best script that a project can get, regardless of egos, because, in the end , if the script isn't ready the movie isn't ready. I've looked at and read over a hundred scripts from filmmakers... i've only read about 10 that are any good and all of them needed substancial help. You certainly don't need to follow my path in any detail, but you need to get over the egos and get pros to help polish your scripts and get them really ready. I just had a great meeting this afternoon with a writer and he offered me some great ideas on what was already a good script.. Now its even better! And that is the most important thing. Each of the steps I discussed above can only make a poor script good, a good script better and a great script to potentially amazing. But, like I say. if you can just write a script all by yourself...good for you. btw: you pay what you offer.... You don't have to pay WGA rates to get a WGA writer... no one has been fired from the WGA for taking a modest paying gig. Not that I know of, nor anyone I know.... but if you want to pay WGA rates, knock yourself out.

I agree with Mr. Wilson too {although I feel like Dennis the Menace when I say Mr. Wilson :)}, for a beginning writer, it makes no sense to hire an established writer to rewrite a twice written script, then rewrite it again. It sounds more like that writer didn't really believe in their own technique so they hired a "pro" to rewrite it.

I'm lost in here. I think I will polish my own script and see if Georgia was right.

@Georgina - Your methods are your own and if you are making your own movies, good luck. But for the purposes of advice for new writers trying to develop themselves, your method reads like arrested development. The WGA MBA means their members have to be paid a minimum, anything below that and they are in danger of repercussions from the union. Unless they are ghost writing and not reporting their earnings to the Union (which is quite possible). A WGA member does not equate to an "amazing" script. By that rationale, all WGA scripts would be "amazing" all WGA writers would be working and would not need to take below WGA MBA minimum ghost writing jobs.

Well now we're getting into the definition of what an "amazing" script is. Problem with that is it's completely in the eye of the beholder. I've read scripts where people (not just the writer) thought it was great, and I thought that is was ok. I've also read scripts that I really liked and others thought they weren't anything to write home about. That's both the beauty and toughest part of this art form, it's completely up to interpretation. I've never read a perfect script, and doubt I ever will, but if it's interesting enough that I want to read it to the end, then to me, it's a good script. Again, if you're self producing, then Georgia's way may work just fine for you. But if you're just getting started, you're better off seeing how you stack up as a writer on your own first.

@ Marvin ...each to there own. i'm sorry if I stepped on your toes... I'm sure you are a professional screenwriter and you know better... ;)

No toe stepping done Georgina and good luck with your projects. Good point Richard. Great point Luis. I recently had a script at a production company. They sent it for coverage to two companies. Both came back with "recommend", but the finance partner didn't like the script. Go figure...

Exactly Marvin, that's what a lot of people don't understand in the film/tv biz, you need a collection of people each with their own opinions, tastes and agendas to agree to move a project forward. If you get the greenlight, you feel like you're on cloud nine, but all you need is that one "no"...that's a back breaker. The good news is if two companies thought your work was a go, then another production company could very well pull that trigger. I'm rooting for you brother.

After you've written a great screenplay, then rewrite it and make it brilliant. Your work needs to stand out and great just may not cut it. Get screenplay coverage and get it fine tuned then get the title and Logline out there. Don't give the screenplay to just any would-be producer. Look into who they are first and what their experience is. PS. Don't forget protection or you may get screwed.

I agree with Alex. Still, you do not want to get into a standstill perfecting your one project. I have met some successful people who submitted to several screenplay competitions around the country and soon had their stories in production. you can try www.withoutabox.com to get started on finding them if you want... Network, network, network, write, write and keep on writing! Prayer never hurts, either!

Does it have a sprinkling of Comedy? Every Drama needs a little humour: http://www.cheekymonkeycomedy.com/the-book/

Polish it until it is brilliant and do NOT listen to other people on what changes to make! You know your creation and characters better then anyone!

NOT good advice. You'd be hard-pressed to name many films that have not gone through a grist mill of changes to reach the screen. Even the A list writers have their friends (often other A list writers) read their scripts and give notes. Something along the lines of 'you can't see the forest for the trees' when you are so immersed in your work.

First thing is to find out if it's really great. That means a read. Don't let friends and family read it. They're biased and will most likely tell you what they think you want to hear. Instead, try posting some pages on various screenwriting forums. Or, if you have the bucks, spend a hundred or so on some good and reputable script analysts who can break down the good and bad of your script and give you ideas on how to make it better.

Both are good advice. But do not kid yourself; the film you finish will have no resemblance to the film you started.