by William Munns
In my last article, we discussed the bizarre challenge of proper script formatting and coming to terms with the absurd appeal of “more white on a page.” If your literary integrity has survived reducing your work to an anorexic level and you feel you have a wonderful movie/TV/media script, you are now ready to try and sell it. If you’ve sold to any other publishing medium or industry, and think that the movie/TV script selling process is the same, change your name to Alice and start chasing the White Rabbit into Wonderland.
I don’t say this to intimidate, because in an absurd sort of way, selling a script is actually quite pragmatic in its current process. You buy your way to a sales opportunity. Gone are the days of discretely greased palms, bribes, kickbacks, and similar under-the-table attempts to gain the recommendation or accessibility of a person who can get you closer to a buyer. Now, the process is remarkably open and publicized, with credit cards and PayPal gladly accepted. The trick is to buy your opportunities in the right order. Continue reading “Buying Opportunities to Sell Your Script”
by William Munns
There was a time when writing for movies or TV was like writing a play, with lush descriptions of a scene and robust soliloquies. If you aspire to write a great movie or TV script today, abandon that thought and face the realities of today’s market. Format, high concept log lines, formulaic story structure, and minimalist content are the Four Horsemen of the Screenplay Apocalypse you must confront. If you have written for other forms, especially classical literature, writing a script will be something akin to a head-on collision with a garbage truck. Continue reading “Anorexic Literature – Writing Screenplays for Today’s Market”
by Alesha Escobar
When you’re writing a screenplay, especially as an indie writer, you’ll agree that pitching your story to a potential audience or buyer can be nerve-wracking. The pitch ties into your marketing, your image, and needs to be engaging to open doors of opportunity.
Some writers hate hearing that. They want to just be put in front of the right audience, or right producer, and let their story shine on its own merits. No gimmicks, and no marketing voodoo. Continue reading “Pitching 101”