Screenwriting : Screenplay Options by Lee Jessup

Absolutely fantastic (as usual), Lee.

Great blog Lee! I find the business side to be so mysterious and confusing. It's a huge help to better understand how to react and navigate great possibilities. Thanks for sharing the article! :)

I've been optioned three times. Each time for very little or no money. None of them have gone into production. I'll usually deliver at least a second draft to a producer before bringing up an option agreement. I think an option agreement would be in the producers best interest just so they know they have the rights to the script, it also lets the writer know they're serious. But again, no name writers need to keep in mind that you can't demand the world.

I have some questions in response to this. I wrote a script that I want to make but am nervous about production companies either stringing me along in development for years or stealing my idea. I have seen this happen to so many people. This is why I get concerned when a production gets involved without really moving forward right away. Thoughts?

I wouldn't worry about your idea being stolen. It's cheaper to pay you for the script than steal your idea and get sued. Also you say you want to make it, meaning direct it?

I want to produce and star in it. So it is done the right way.

Great piece. Even though I've been fortunate enough to be optioned, I totally get the mentality here and am already thinking, "Dude, where can I get my next option."

Josh...shoot it yourself. Don't waste your time trying to find producers, etc. If you want it done then do it. I'm of the same mindset as you. I've shot several of my own films...now it's getting the scripts right and shooting them myself. Trying to find financing is so difficult even with A-List talent involved for the small films I like to write. Don't wait!

yeah I just want producers for money and line producing, don't want their input unless they understand that the director and I are in charge.

Why don't you just do what a producer does then? Find distributors looking for your type of script/story and have them pre buy your film.

Don't I need funding first from investors? See this is where an experienced producer would come in handy. I just want the movie to get made and don't want them interfering and slowing things down and screwing things up. So the right kind of producer would help with pre sales getting financing, getting line producer and all that ready to go. And the director and I could handle the creative part.

If you find a distributor who will pre buy your film, they basically say "great, you give me that movie, I'll buy it for 500k" You then go and find a peron or people who are willing to give you 500k. You can even go to a bank for this since the distributors pre-buy is collateral. At this point you could also try and find friendly places to shoot with nice tax credits etc.. You could of course just go find a couple rich dentists and try and convince them to fund your film, or you find a distributor to pre buy it then find the money.

That's great advice. Yeah NY and Louisiana have amazing tax credits

Yeah so you go and find distributors to pre buy your movie and they come with a minimum guarantee so let's say you pre sell the film for 500k. So your budget is 500k. Tax credits of 30% give you 150 so now it only costs 350k to make the movie. So you find 7 dentists to give you 50k each. You make the movie, sell it for 500k and you've already made money for your investors. I'm sure it can get much more complicated than that, but that's how a lot of indie work gets done.

I work with producers to do that. I have no interest in making my scripts myself. There's only one I would want to make myself but it's currently under option.

And that's why there's so much politics involved. It's not that I don't want to hear what they would want to say, I just wouldn't want them to fuck it up or create restrictions. I've heard of some producers coming on projects and finding the money and trusting everything else so it's hands off..that would be idea but hard to find I imagine.

A good producer will know what your script needs to be in order for it to attract money/distribution. This whole conversation we're having? this is why celebs are going to Kickstarter. Why deal with bad notes or compromising your vision when you can raise the money on your own and make the film you want? This is why I was totally in favor Zach Braff using Kickstarter.

Great read Lee... Interesting. I would just be happy to get noticed....They can change my script however they please...Probably improve on it.... And as for rewrite.... I would be happy to take direction... I should be so lucky would be my thinking... grateful for the opportunity. If any of my stories were good enough to be out there.... That would be a huge compliment.

When just starting out we have to learn the ropes. I've been at this a year now and have already learned quite a bit along the way. I am working on spec with 3 different producers, currently writing 2 features and two shorts at the moment. The features are their ideas and if anything else I'm finding it good practise to take somebody else's idea and turn it into a story. They also have good form and have everything attached, directors, main actors etc. However, not all indie producers are worthwhile prospects. I got involved with one production team and it turned out they didn't have a clue what they were doing, so I quickly jumped off the project. I actually wrote a great script around the concept, which is not exactly an original concept anyway, and it's all mine. As soon as I get some time, I'll rewrite it and market it out myself. The point is though, be careful who you get involved with. Check them out, see what they've done before and make sure you know how much you'll be getting if/once funding is established. Also with smaller productions there are opportunities to gain producer points or even assistant director credits too.

It is getting extremely difficult to find pre-sale money unless you already have A-list talent attached...and even then it is not a slam dunk. One impact from the writers' strike was that local filmmakers in many foreign territories began producing material and thus filling their pipeline. No need for those territories to buy US films upfront until they see the product. All I'm saying is don't wait for the financing genie to appear on your doorstep. Start to produce your own material and learn those ropes. If you are in this business for the long haul then you will come out ahead in the end by becoming a producer. Unfortunately this business is more about business than art.

Dan, don't be so attached to the words on the page. If you think notes are bad don't do them. I know exactly where you're coming from because you don't want to waste your time rewriting something for someone who most likely wont be able to produce your script, but it's best to be a team player early on. Writers have a reputation of being difficult to work with. If you show someone that you're interested in their notes and feedback it'll go a long way.

To the point of "art" vs "business". Movies are about entertainment more than anything. Think about your favorite movies or film makers? They entertain you first and then manage to blow you away with themes and story telling and symbolism etc.. So try and start with making your script or movie entertaining before satisfying your "artistic vision". At least that's what I've tried to do.

I'm essentially a lazy writer, I have so many stories going around in my head it is much easier for me to first draft them and then see what a producer thinks of it before committing myself to finishing them properly. This one guy I'm working with can't write for shit himself but he can visualise my stories and so far he has helped make them better. Maybe I'm going about things the wrong way and I should be perfecting them and hoping for that golden ticket from Hollywood, but I'm prepared to work myself up from the bottom. I think, in regards to this latest discussion, that the movie itself is about entertaining but it is essentially put together to make money. This is more transparent in Hollywood, but even the indie guys will admit (unless they're super-rich playboys) that it all boils down to money. It is very much a business and that is my approach as a screenwriter. I try to think of concepts that will sell.

I am not sure there is really a "Process", just a "Connection"

Jack, I probably need to clarify my statement in regards to "this business is more about business than art." By art I mean the creative side not necessarily art films...no matter the genre, entertaining or not. This is a business and people who put up the money have one thing in mind and that is a return on their investment. The odds of an ROI are much better in Vegas. If you dream of your film playing theatrically...the bottom line for small releases is $20 million to break even...if you have a small marketing budget. The tent-pole films spend north of $100 million just for marketing. Ouch! As we've seen this summer 1/3 of the most entertaining films lost a ton of money. The main reason I push people to make their own films is because the money is not as available as it has been in the past...and this summer made things much worse. The audience is scattered. Don't be afraid to not go with a theatrical release. If you can control the film and keep the rights...you can use VOD, streaming, etc. as well as do your own theatrical release using tugg.com or other theater-run options. Create the content, build a following and you just might get to sit on the throne. Go for it! And don't forget to invite us all to watch your film.

Lee, Nice to see how endorsed you are. I may be looking to you for professional advice. Please guide me in that process. Thx.

Ah, sorry. What I meant was that I don't polish my scripts to perfection before I let other people read them. I'll do the first draft (as in my very first draft) do a quick run over on it and make any changes I think need making. Sometimes it could be quite a bit of work, even as much as deleting a character or rewriting an entire section, but usually the story is good enough to go almost right away. I wouldn't call it being the first thing that rattled out of my head. My stories take a lot of thought before committing pen to paper. Also when working with a Producer on their idea then they expect to see the first draft. I met one Producer on location, took some snaps of the area, we had a talk. 8 days later I gave him the first draft. 3 weeks later, he gets back to me with the changes. In under a week, I hand him the 2nd draft. Just waiting to hear back now on changes for the third draft. While I'm waiting for that I'm finishing first draft on a script for another producer, completely different genre, that will also be done in under 2 weeks. Hopefully, I'll then have time to do some work on some of my spec ideas that just keep building and building. I don't write anything on my scripts that shouldn't be there. Although I will name the files as first draft, 2nd draft etc as that helps me keep hold of every draft on every script I do. The .pdfs I send out will just have the title. Unless I'm actually working with a producer, then I will name the .pdf files first draft etc, as it also helps them keep track of what has been before. I suppose once you have physically met the Producer and have spoken about where the script should be going etc then things don't have to be as formal. Thanks, Dan. It is nice when somebody takes notice of your talent. It's confirmation that you're not just wasting your time and that surely, surely, the big break is just around the corner.

I don't send out first drafts to agents, managers, or production companies, only finished products. However, I realize that even my finished product probably needs a touch up, etc.

Hi Lee,

Options can be a minefield and a screenwriter can step on one if not careful. I've experienced nothing but disappointment with the options I've sold. For one reason or another the option route ended up in Nowheresville and it was usually involved with raising the money to make the movie.

true, but the goal of any screenwriter is to get optioned. The option agreement includes the purchase agreement typically, so the goal is to get optioned.

Yes, but I've been asked to give an option for free. Watch out for those requests.

All of mine have been free or very low money. If you do a free option only give them the option for a few months.

Love this! Thanks so much...

I do read your blog and like your posts, Lee. Thanks so much for the connection.

thanks so much for all the positive feedback guys! Really happy to see the discussion this has stimulated!

Thanks, its painful to hear the truth, but so helpful.

Great article Lee. Solid advice, folks (I) would be paying big money to hear this in seminars and writing workshops. Thanks for sharing these gems to the masses as a gift. I can totally relate.

Very insightful! Many screenwriters, and those that are looking to become screenwriters, won't want the hear this, but need to take it to heart. After all, if it was easy, everyone one would do it!

I went the the Pitchfest in LA on the 2nd. I'd recomend people try this outlet. It was fun and insightful.

Great blog, Lee, and fantastic discussion. I learned early on in my writing, make any changes the producer asks for. I find it very satisfying to take a written script and making changes to it, particularly if there are notes! I mostly prefer rewriting scripts for those who need them quickly or just don't like doing it themselves. I guess it's a new pair of eyes.

I always say listen to the person with the checkbook. If someone is willing to pay you to rewrite, awesome. If there's a possible payday after doing a rewrite,and you trust the producer, then by all means.

I admit I've turned down rewrite requests, sensing it was for the sake of rewriting to fit a certain thing the producer wanted, not really to improve the script, and for no money, besides. I thought it was the right move back then and still do. I don't like being manipulated. I wasn't that desperate back then and I'm still not.

Pitchfests, when you have something to talk about, can be great. While you WON'T sell a script or get signed in the room, it's a great opportunity to connect with executives and start making some valuable industry contacts!

Exactly.