Advanced Screenwriting

✍️Advanced Screenwriting Unit 13 – Screenwriting Business Essentials

Screenwriting isn't just about crafting compelling stories. It's also about navigating the complex business landscape of Hollywood. From pitching your script to negotiating contracts, understanding the industry's structure and key players is crucial for success. This guide covers essential concepts like loglines and treatments, the roles of agents and managers, and the intricacies of pitching and selling scripts. It also delves into networking strategies, marketing yourself as a writer, and managing the financial aspects of a screenwriting career.

Key Concepts and Terminology

  • Logline succinct one or two sentence summary of a script's core concept, hook, and essential conflict
  • Treatment longer summary of a script's story, characters, and structure typically 5-10 pages in length
  • Beat sheet breaks down a script into its key narrative beats and plot points used as a roadmap for writing
  • Spec script original screenplay written without compensation in hopes of selling it to a buyer (studio, production company)
  • Option agreement contract that gives a studio or production company exclusive rights to buy a script within a specified time period
    • Typically lasts for 12-18 months
    • Writer receives an option payment upfront (10% of purchase price)
  • WGA Writers Guild of America labor union representing writers in the film, television, and new media industries
    • Negotiates minimum salaries, residuals, and other benefits for members
    • Offers script registration service to help protect writers' intellectual property

Industry Structure and Players

  • Studios major film production and distribution companies (Disney, Warner Bros., Universal) that finance, produce, and release movies
  • Mini-majors smaller studios (Lionsgate, A24) that produce and distribute films, often focusing on independent or niche content
  • Production companies entities that develop and produce films, often in partnership with studios or financiers
    • Can be affiliated with a studio (Lucasfilm) or independent (Blumhouse)
  • Financiers individuals or companies that invest money in film projects in exchange for a share of the profits
    • Can include private equity firms, hedge funds, and high net worth individuals
  • Distributors companies responsible for marketing and releasing films to theaters and other platforms (streaming, VOD)
    • Major studios handle their own distribution
    • Independent films often secure distribution through sales agents or film festivals
  • Talent agencies companies that represent writers, actors, and directors, helping them find work and negotiate deals
    • Big four agencies are CAA, WME, UTA, and ICM

Agents, Managers, and Representation

  • Literary agents represent screenwriters and help them sell their scripts, negotiate deals, and build their careers
    • Typically charge 10-15% commission on client earnings
    • Focus on business aspects of a writer's career (sales, contracts)
  • Managers provide career guidance and support to writers, often working in tandem with agents
    • Help develop and package projects, provide creative feedback
    • Charge 10-15% commission, but can also produce client projects
  • Entertainment lawyers handle legal aspects of a writer's career (contracts, intellectual property)
    • Work closely with agents and managers to protect client interests
    • Typically charge hourly fees or 5% commission
  • Talent agencies major companies (CAA, WME, UTA, ICM) that represent a wide range of entertainment industry talent
    • Have separate departments for writers, actors, directors, etc.
    • Packaging combining agency clients (writer, actor, director) into a single project to sell to studios/networks
  • Boutique agencies smaller firms that specialize in representing writers and literary material
    • Often provide more personalized attention than larger agencies
    • Examples include Verve, Rothman Brecher Ehrich Livingston

Pitching Your Script

  • Elevator pitch concise 30-60 second summary of a script's premise and hook, designed to quickly grab someone's attention
  • Pitch meeting formal meeting where a writer presents their script idea to executives or producers in hopes of securing a sale or development deal
    • Typically includes a verbal pitch, leave-behind materials (treatment, script), and Q&A
    • Preparation is key research the company, practice your pitch, anticipate questions
  • Pitch deck visual presentation that accompanies a verbal pitch, often including concept art, character descriptions, and market comparisons
  • Leave-behind written materials (treatment, script, synopsis) that a writer leaves with executives after a pitch meeting
    • Should be polished and professional, as they may be passed around to other decision-makers
  • Follow-up maintaining contact with executives after a pitch meeting to gauge interest, provide additional materials, or discuss next steps
    • Be persistent but respectful don't be afraid to check in, but avoid being pushy or aggressive
  • Rejection handling the inevitable "no" that comes with pitching scripts
    • Don't take it personally use rejection as an opportunity to improve your craft and refine your pitches
    • Keep pitching even successful writers face rejection focus on getting your script in front of the right person
  • Option agreement contract that gives a studio or production company exclusive rights to buy a script within a specified time period
    • Typically lasts for 12-18 months
    • Writer receives an option payment upfront (10% of purchase price)
  • Purchase agreement contract that outlines the terms of a script sale, including price, credit, and backend participation
    • WGA minimum for original screenplay is approximately $150,000
    • Writer may receive additional payments for rewrites, bonuses, and backend profits
  • Rewrite contract agreement for a writer to revise an existing script, often with specific notes or directives from the studio/producer
    • Can be done by the original writer or a new writer brought in for a fresh perspective
  • Collaboration agreement contract that outlines the terms of a writing partnership, including division of work, credit, and compensation
    • Important to have in place to avoid disputes and protect both writers' interests
  • Intellectual property rights legal protections for a writer's original ideas and work, including copyright, trademark, and WGA registration
    • Copyright protects the expression of an idea (the script itself)
    • WGA registration provides evidence of a script's creation date and ownership
  • Non-disclosure agreement (NDA) contract that prohibits parties from sharing confidential information, such as script details or business plans
    • Often required when pitching to studios or production companies to protect their intellectual property
    • Can also protect writers from having their ideas stolen or misused

Networking and Building Relationships

  • Industry events conferences, festivals, and workshops where writers can meet and connect with other professionals (Austin Film Festival, ScriptFest)
    • Offer panels, screenings, and networking opportunities
    • Great places to learn about the industry and make valuable contacts
  • Writing groups communities of writers who meet regularly to share work, provide feedback, and support each other's careers
    • Can be in-person or online, focused on a specific genre or format
    • Provide accountability, motivation, and a sense of community
  • Mentorship relationships where an experienced writer provides guidance and support to a less experienced writer
    • Can be formal (through a program or organization) or informal (organically developed)
    • Mentor can offer advice on craft, career, and navigating the industry
  • Social media platforms like Twitter, Instagram, and LinkedIn where writers can connect with other professionals, share their work, and build their brand
    • Use hashtags and follow industry leaders to stay up-to-date on news and opportunities
    • Engage with others' content and contribute to discussions to build relationships
  • Professional organizations groups like the WGA, Academy of Motion Picture Arts and Sciences, and Film Independent that support and advocate for writers
    • Offer resources, events, and networking opportunities for members
    • Can provide access to health insurance, legal services, and other benefits

Marketing Yourself as a Screenwriter

  • Building a brand developing a unique identity and reputation as a writer, based on your voice, genre, and storytelling style
    • Consistency is key ensure your scripts, pitches, and online presence all reflect your brand
    • Helps you stand out in a crowded marketplace and attract like-minded collaborators
  • Online presence creating and maintaining a professional website, social media accounts, and online portfolio
    • Showcase your writing samples, bio, and contact information
    • Engage with industry news and discussions to demonstrate your knowledge and passion
  • Networking strategically identifying and connecting with people who can help advance your career, such as agents, managers, and producers
    • Research their backgrounds and interests to find common ground
    • Provide value before asking for favors share articles, offer congrats, or introduce them to others
  • Contests and fellowships programs that recognize and support emerging writers, often with cash prizes, mentorship, and industry exposure
    • Examples include Nicholl Fellowship, Austin Film Festival, and Sundance Screenwriters Lab
    • Can be a great way to validate your writing and open doors to representation and job opportunities
  • Script coverage services that provide professional feedback and analysis on your script, often with notes on marketability and potential buyers
    • Can help identify strengths and weaknesses in your writing
    • Some services like Blcklst.com also host annual lists and industry mixers to connect writers with executives

Financial Aspects of Screenwriting

  • WGA minimum basic agreement sets minimum compensation rates for writers, including upfront fees, residuals, and health/pension benefits
    • Current minimum for original screenplay is approximately $150,000
    • Ensures writers are fairly compensated and protected from exploitation
  • Script sales process of selling a completed script to a studio, production company, or financier
    • Can be done through an agent/manager or directly by the writer
    • Typical purchase price ranges from WGA minimum to seven figures for established writers
  • Paid assignments jobs where a writer is hired to write or rewrite a script based on an existing idea or property
    • Studio or production company owns the underlying rights and hires the writer to execute their vision
    • Compensation can include upfront fees, rewrites, and backend participation
  • Backend deals agreements that give writers a percentage of a film's profits or revenue in addition to their upfront compensation
    • Can include box office bonuses, merchandise sales, and streaming royalties
    • Allows writers to share in a project's success and earn more than their initial fee
  • Residuals ongoing payments to writers for reuse of their work, such as TV reruns, DVD sales, and streaming
    • WGA negotiates residual formulas as part of its collective bargaining agreement
    • Provides a source of passive income for writers and rewards them for creating enduring works
  • Financial planning strategies for managing the irregular income and high taxes associated with screenwriting
    • Budgeting, saving, and investing to smooth out cash flow and prepare for dry spells
    • Incorporating and taking advantage of tax deductions for business expenses (home office, research, travel)
    • Working with a financial advisor or accountant to create a long-term plan and maximize earnings


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© 2024 Fiveable Inc. All rights reserved.
AP® and SAT® are trademarks registered by the College Board, which is not affiliated with, and does not endorse this website.