SHOOTING PEOPLE - UK SCREENWRITERS NETWORK
Supported by The Script Factory

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From: Richard Bird
Subject: Re: Stargate spec scripts- advice please

"I have just completed 2 episodes for the TV show STARGATE. I know it's hard to get spec scripts through to these big time productions, but I do know of people who have managed to get Star Trek episodes and the like produced. I would welcome any advice regarding how and to whom I would send these scripts."

American TV shows like 'Stargate' et al are almost exclusively written in-house, or farmed out to a small band of trusted writers. Spec scripts are NOT read, in part because of the legal minefield but mainly due to the sheer volume of them that arrive every day.

The Star Trek stable is unique in accepting unsolicited spec scripts, but even this is seen as more of a PR exercise than an actual search for new talent. The backlog of scripts they have LITERALLY fills a warehouse.

Advice? To have any chance, it must be submitted through an agent... it's easy to find who and where to send it, but unless it has that agents envelope then you might as well save the paper, it will go straight into the (recycling) bin. As a last resort, you may be able to get an entertainment lawyer to send it under his/her auspices, but this will cost you, and I seriously think any money sent is too much.

My advice? FORGET Stargate. You've written two scripts! Fantastic. Rename the characters and change the stage... you now have two short films. Pitch them on this site. Get a group together. Get them made..... now you have a stake at the table. Five years from now you'll be making features, and Stargate will be asking how they get hold of YOU!

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From: R J Purves, http://www.ukscreen.com/crew/rjpurves
Subject: Re: Stargate spec scripts- advice please

As a general rule, if the script is unsolicited then it will be returned unopened to guard themselves against possible copyright problems. The exception to the rule WAS Star Trek but they made you sign a waiver first which you attached to your script.

I don't think any other show like that operates that procedure, so you might be wasting your time.

However, if you want to wait for the much rumoured next ST series ...

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Books

From: Keith Dickinson
Subject: books about character and dialogue

I recommend 'Screenwriting' by Lew Hunter. He goes through the whole development process, from getting an idea to finishing the script, and goes into detail about developing characters, keeping dialogue tight, as well as other tricks of the trade.

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From: Jonathan Hands
Subject: screenwriting books

Some of the screenwriting books I've read have been incredibly enlightening.

"Screenplay: The Foundations of Screenwriting" by Sid Field. An advocate of the three act structure, Field is recommended by people such as Andrew Kevin Walker (Seven, 8MM, Sleepy Hollow), Steven Bocho (LA Law, NYPD BLUE), and James L. Brooks (Terms of Endearment, Broadcast News).

"The Complete Book of Scriptwriting" by J. Michael Straczynski. (writer/producer Babylon 5, Murder She Wrote). This book deals with all aspects of screenwriting, teleplays, animation, screenplays, radio dramas. It also has sections on how to get and keep an agent, how to market your work and how not to get screwed when it comes time to get paid. It also gives sample release forms and a full Babylon 5 script.

"Successful Sitcom Writing: How to Write and Sell for TV's Hottest Format" by Jurgen Wolff. This book deals with the structure and development of sitcom scripts and sitcom series. It has a whole section on developing and presenting a series from scratch and also has chapters and industry advice on getting an agent.

All three of these books were written by people with vast experience and intimate knowledge of the inner workings of the industry.

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From: Marc
Subject: Screenwriting books

"I personally would be nowhere without Robert McKee's 'Story'..."

Agreed. I think you could just keep McKee and check everything else on the fire. Lajos Egris's book, whose name escapes me for the moment, is very useful. It was written in the thirties, and it's about writing plays, not movies, but it really gets to the fundamentals of good storytelling, and it's just as relevant today as when it was written.

The whole three-act thing is really a bit out of date, so steer clear of anyone who's still banging on about that. I've also found that there are some screenwriting books with titles that promise much but then fail to deliver. I'm thinking of a book called Zen and the Art of Screenwriting, which is about nothing of the kind, and another one called Writing the Character Centred Screenplay, which didn't, in my opinion, have very much to say on that subject.

My overall feeling about screenwriting books is that they're useful up to a point. They can be good for teaching technique, so if you have a great idea for a film, a book like McKee's will help you knock it into shape. But if you don't have a good idea, you can read as many books as you like, but they won't help you write a saleable script.

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From: Alex
Subject: Screenwriting books- Lajos Egris

"I personally would be nowhere without Robert McKee's 'Story'..."

Agreed. I think you could just keep McKee and check everything else on the fire. Lajos Egris's book, "The Art of Dramatic Writing.", is very useful. It was written in the thirties, and it's about writing plays, not movies, but it really gets to the fundamentals of good storytelling, and it's just as relevant today as when it was written."

It has excellent info on building a character. I have used it in my writing. I also found it useful to "take" a personality quiz from the point of view of my character to help me find out more about the people I am writing from.

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From: Kevin McMullen
Subject: Re: screenwriting books

I have to agree that Robert McKee's 'Story* offers an unparalleled insight into the mechanics of scriptwriting.

He'll provide you with in-depth analysis of the building blocks of screenwriting taken to the nth degree and this is probably what makes it stand out.

However, viewed alongside the numerous other screenwriting books out there, there seems to be a template recognised by most of these authors regarding structure i.e. inciting incidents, turning point 1, point of no return, turning point 2, climax etc all corresponding with the traditional three act structure. Although useful this appears tailored to Hollywood tenets and should be viewed as such. This is not intended as a slight on that system but if we are all reading the same books, espousing the same writing techniques then naturally this could lead to a generic product, a criticism which could be levelled at Hollywood.

Therefore, the point is, there are many books out there which may help the aspiring screenwriter. The important thing to avoid is writing by numbers which many of these books could induce.

From my own experience the best book I could recommend is *The Film Sense* by Sergei Eisenstein, which translates in somewhat academic terms the principles instead of the building blocks of cinema. Rather than provide you with a rigid framework for telling stories, this book will provide you with enough insight to arrive at your own conclusions which will hopefully translate into honest, original pieces of work.

Having said that you could read the all the recommended literature out there until you are blue in the face, but without practice, practice and more practice your writing may never amount to anything. I have now written and directed several short films and have three feature length scripts to my name and guess what? Although I didn't realise it at the time, the first one wasn't very good, the second better but still not all that and the third the best I've produced yet, but still needs improving. The lesson here is, just like when learning a new language, and that's what we're doing, communicating in the language of cinema, much toil, sweat and practice will be required to become fluent.

Once you have mastered your new language the only thing left to ask and probably the most important is, what do you have to say, and why do you want to share it with the world and will they even care?

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From: Julian Friedmann, Blake Friedmann Literary Agency
Subject: Books

Some responses:

Re Egri: try to get hold of his later book THE ART OF CREATIVE WRITING. This is - in my opinion - the most valuable book because it shows like no other how to get plot out of character. Everything written post-1960 (when this book was written) is largely based on Egri and Aristotle. Don't be too concerned about writing formulae - only uncreative writers need be careful.

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From: Susan Everett
Subject: Books

I was wondering when someone would mention THE WRITER'S JOURNEY. And if any of you out there haven't read Linga Segers' MAKING A GOOD SCRIPT GREAT yet - do it now!)

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From: Jonny Kurzman
Subject: Re: literary properties

"The property I wish to option or purchase is out of print but according to the author's agents the book's previous option has expired and I have been invited to make an offer. the author is deceased, his book is out of print (But I have a copy) he died in 1975 and his widow, (who I've been in correspondence with) put me onto the agents concerned.

my prob is: what's a reasonable offer? Do I suggest several thousand when several hundred would have done? can anyone give me a clue? Remember, the book is out of print, the author's book is relatively obscure and the author is dead."

God, this sounds so familiar. About this time two years ago I set about trying to option an obscure science fiction novel written in the 1950's that was out of print in both this country and the states, and the little known 80+ year old author had never been adapted. They should be so lucky, I thought...

The problem was, it can't have been long before that this particular LA agent had done the deal on another languishing literary property called Starship Troopers! So there he is, rubbing his hands in anticipation of some massive pay day, the trouble being my vision of the final film was more art house than multiplex. It took the best part of a year to do the deal.

In my experience the option itself will be whatever you personally can afford... Unless it is free, I have never come across an option that was less than the psychological barrier of a thousand pounds or dollars, with a further option to extend it after a year or two for an additional fee.

The trickier part of the deal is the exercise price. In other words, what the author gets if the film goes into production. This is the most important bit, because the temptation is to give the agent whatever they ask for (because you are desperate to do the screenplay and you are not paying for it) but you could end up putting a ball and chain on your script if what they're asking is unrealistic. The film will not get made if it is too rich. One way around this is for there to be an escalator involved (a percentage of the budget) but with a minimum and maximum price built in. This is the key. You need to know what kind of movie your script is going to be because whatever the author gets must make sense within the eventual budget.

Of course, once you have the deal in place, then comes the nitty gritty.

During the detailed negotiations, the issue of merchandising rights came up. The other side wanted to keep the merchandising rights; my lawyer went berserk saying we couldn't possibly do that, etc. etc. and it was clearly a matter of lawyerly honour, and this was going to be a fight to the death... The thing is, the 'hero' of my film is a psychopath who murders his pregnant wife... as I said before more art house than multiplex.... so I said to my lawyer, let them have the bloody merchandising because I really can't see McDonalds wanting to make Happy Meals out of this.

The moral being, never lose sight of the film you want to make.

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From: Margery Bone
Subject: Book option

To option a book you will need to negotiate,

1. Option Fee - standard is 10% of purchase price, although make sure if you can this purchase price (on for before first day of principal photography) is less the option fee already paid, i.e. option an advance rather than addition.

2. Purchase price - standard is around 2% of budget, although I have been asked for up to 5% from an American agent, but didn't go for it. You will be asked what budget you think it will be.

3. Contract often specifies floor/ceiling purchase price i.e. minimum £50,000 and maximum £150,000 and not less than 2% of budget.

4. Define this budget - fairly standard is say 2% of budget excluding costs of insurance/completion bond, legal fees, bank charges.

5. You will be expected to agree terms for remake rights, series etc

6. You should try to get at least 18 months for option, 2 years if possible, with first right to renew for same period again.

A book that's not really hot could be anything between £1500 - £3000 per year of option. Bearing in mind Nick Hornby's About a Boy went for about £2 million purchase price I think.

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