by Gus | Oct 21, 2014 | Marketing Tips, Misc
Do you think your book has film potential? If so, it may be possible to turn it into a film. There are several ways to make this happen, and some traps to avoid. Here are the main points to consider and steps to take.
– Does your book really have good film potential?. A first consideration is whether your book really has the potential to be a film. The mediums are very different, so remember that a film is all about action and dialog. It depends on what can be shown on the screen, and a film loves conflict and drama, so if your book has a lot of interior thinking by a character, a lot of philosophical reflection, or a lot of social commentary, it may not make a good film; or at least much of that will have to go out. While some films have a voice-over narration expressing a character’s thoughts or tying the story together, that has to be done sparely so the film doesn’t become too talky and cerebral, which doesn’t work well in a film. So before you put a lot of effort into trying to turn your book into a film, consider whether it really will work in this medium, or what you have to drop from the book to make a viable film.
– Has your book been published, and if so, is it by a mainstream publisher or does it have a strong sales record? Another big consideration for any film producer, agent, manager, investor, or director in deciding whether your book might make a good film is how well it has done in the market place. It is rare for a company to buy the film rights to an unpublished manuscript, unless it is written by an author who already has a successful track record or comes from a publisher who feels the book will have great sales potential once released. So normally, if you have an unpublished manuscript or a self-published book with limited sales, you may find it difficult to sell the film rights now and you may need to develop the script from your book, and then sell that. It can help if you have taken an unpublished manuscript to the next level by publishing it yourself under your own imprint. But then a film professional will want to know what success you have had in promoting and selling the book. So your track record will be very important. Thus, the more you can up the sales figures or get publicity for the book in the print, broadcast, or Internet media, the more that exposure can help you sell the film rights to a self-published book, assuming this meets the first criteria of having good film potential
– If you have a book published by a mainstream publisher, do you have the film rights to sell? When you sell your book to a mainstream publisher, the contract will include all kinds of subsidiary rights that the publisher is acquiring along with the book. Typically these will include the film, video, and dramatic rights, where you split 50-50 with the publisher unless stated otherwise. So commonly, in entering into a contract, you have to request to exclude those rights to own the right to sell your film, or the publisher will have that right. When you work out the contract details, talk to your publisher about whether you have the right to initiate a deal with a film producer, agent, or manager for the film rights, after which they can finalize it to comply with your contract. Or sometimes before or after you have signed the contract, you can work out an agreement, which might be added to the contract, to give you a greater percentage of any deal if you find it, such as giving you 60-75% of any income derived the sale of the film rights. A still better solution unless your publisher is in a position to aggressively pursue film or video rights to your book (such if your deal is with big company like Random House, which has its own film licensing division) is to get those rights deleted from the contract. And commonly a publisher will be glad to do that if they have no plans to aggressively seek out a film licensing deal – which is the cast for most small or medium sized publishers. Then, once you clarify your ownership and ability to sell film rights, you can attempt to do so.
– Should you attempt to sell film rights or write a script based on your book and seek to sell that, or do both? Another big consideration is whether you should pitch the film rights to your book, write the script and pitch that, or pitch either or both to prospective buyers. While there are no firm rules, here are some general guidelines.
– If your book is by a well-established mainstream publisher or you have a good sales record as an independent publisher, you are in a good position to pitch the film rights; then if you find an interested producer, agents, or manager, they might assign a tried and proven screenwriter to adapt the script, or you may be given a chance to first do this yourself.
– If your book is still in a manuscript form or has been published by yourself or by a small publisher with limited success, writing the script yourself – or hire a screenwriter to adapt the book into a script for you. Then, you can pitch the script based on your book.
– If you have a script to pitch, you might try doing both – pitching the film rights and/or the script in order to up your chances of getting a film deal. In this case, you offer the producer the option of getting the film rights or the script or both. This way, if a film pro likes the book but not your script, he or she might option the film rights or perhaps draw on your script but bring in an established screenwriter to pump it up.
So exactly how do you pitch the film rights or adapt the script from a book? The next series of blogs will deal with those issues.
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Gini Graham Scott, PhD, is the author of over 50 books with major publishers, including two on the film industry: THE COMPLETE GUIDE TO WRITING, PRODUCING, AND DIRECTING A LOW-BUDGET SHORT FILM and FINDING FUNDS FOR YOUR FILM OR TV PROJECT, both published by Hal Leonard. She has written and produced over 50 short films, has written 15 scripts for features, has three other films in preproduction, and has one feature film she wrote and executive produced in post-production for release in November 2014. She also writes scripts for clients, and has several film industry Meetup groups which have meetings to discuss members films.
by Gus | Oct 21, 2014 | Marketing Tips, Misc
If you have family or friend connections with producers, agents, and managers, that’s ideal for opening doors to showcase your synopsis or script. Likewise, if you go to a film industry conference and can make a pitch to an industry professional that can start the connection process. But if you don’t have such personal or professional connections, the query letter is the way to go. You may also need a query letter to follow-up after you make an initial contact through a referral or from a phone or face-to-face meeting.
The basic rule for writing this letter is that you want to keep it short and to the point, as well as point up any special credentials you have as a writer, such as being already produced, obtaining some financing, or having a name actor already interested in participating. Think of this query letter as a marketing letter, in which you want to quickly and powerfully get across your message, so the recipient wants to positively respond to you.
When you send this letter, don’t include any attachment, such as for your synopsis or script, and don’t include any graphics or photos, because recipients commonly will not open such emails, due to fears of Internet viruses, trojans, and other malware. Another reason for not sending a detailed synopsis or script is for your own protection, since you don’t want to reveal details about your script, until you have established a paper trail through an email response. This way you can show that you have sent a synopsis or script to a particular person. Then, too, by not including this detailed information, the recipient also feels the protection of knowing this material is only being submitted upon request and is not being made available to a large number of people who have gotten your pitch. Though you can include links to a synopsis, treatment, or script on a website without arousing the concerns due to sending an attachment, it is best not to do so, unless this is a private password protected link, in order to protect your copyrighted material and show the recipient that you are doing this.
There are various formats for writing these letters. One common one is to specifically indicate each topic included in your letter – most notably the following:
– a Logline,
– Genre description,
– Short Synopsis, describing the story, major plot points, and main characters,
– Appeal of the Film,
– Author’s Bio, including any special credentials in the industry.
Another approach is to use these topics as a guide to writing the letter, which is the approach I have used both in pitching films and books.
In either case, begin with a compelling subject line in which you sum up the genre and essential story of the film in about 10-15 words and note any special credentials that will make the recipient want to read your query, such as: “written by a multi-produced writer,” “based on a true story in the news,” or “with a budget to hire a writer.”
Then, after you include the major topics noted above, conclude with an invitation for the recipient to ask for a synopsis or complete script, and end with your contact information, including a phone number, email, address (or minimally your city and state), and any website.
As noted in a previous article, don’t go into too much detail about the plot or be very vague and cryptic about what the story is about. You want to find that middle ground between telling too much or not enough, so you provide the gist of the story and make the recipient feel compelled to ask for more.
Another caution when you write your bio. Primarily highlight your credentials that relate to the film industry, such as if you have been a produced writer, written and directed any award winning short films, graduated from a recognized film school, or won some prestigious competitions for screenwriting. Avoid listing all kinds of non-relevant or early experiences, such as where you graduated from college or your jobs in other fields, unless they are the setting for your script.
And don’t say things like “the members of my family loved my script” or that “this is my first script” or “I hope this will lead to a career in screenwriting,” because such comments sound very amateurish. Then, too, avoid any outpouring of emotion or sales hype, such as saying you think this is an “amazing breakthrough” or “unique one-of-a-kind, never done before” script. Such gushing comes across as non-professional and overly pushy.
Conversely, don’t come across as overly humble, such as by thanking the recipient for his or her time in reading this letter, since you sound like you are begging, asking for a favor, or unsure about the potential value of your script to the recipient. Instead, think of the pitch as your offering the person the opportunity to work with you on producing a great script, though that sentiment should be implied, not stated directly. Rather simply invite the person to contact you if interested in getting a copy of your synopsis or complete script.
Finally, even if you think of yourself as a great writer, consider having a professional write your query letter, since this is a marketing pitch letter, which is a very different type of writing than writing a script.
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Gini Graham Scott, PhD, is the author of over 50 books with major publishers, including two on the film industry: THE COMPLETE GUIDE TO WRITING, PRODUCING, AND DIRECTING A LOW-BUDGET SHORT FILM and FINDING FUNDS FOR YOUR FILM OR TV PROJECT, both published by Hal Leonard. She has written and produced over 50 short films, has written 15 scripts for features, has three other films in preproduction, and has one feature film she wrote and executive produced in post-production for release in November 2014. She also writes scripts for clients, and has several film industry Meetup groups which have meetings to discuss members’ films.
by Gus | Oct 21, 2014 | Marketing Tips, Marketing Tips - Films
Sometimes the terms “synopsis” and “treatment” are used interchangeably, but a common way to distinguish them is to think of a treatment as a fleshed out outline or expanded synopsis. As such, it features the major story line of a script, but without the dialog, except for when the dialog is occasionally woven into the text to better explain or dramatize the story. A major difference between a synopsis and a treatment is that a synopsis is normally at most 1-2 single spaced pages, and more usually 1 page, while a treatment may often run to 25 to 40 pages. An outline might be 5 to 10 pages.
Commonly an outline is something you prepare for yourself to help you structure the plot of the story and build in the characters against this framework. Some writers also develop an extensive backstory for each character, which helps to create the character’s motivation and personality. Then, the writer uses that character work-up to inform them as they write the script.
Another approach writing a script is to simply start with a synopsis and use this as a guide, which is what I normally do, although some writers prefer to use the outline or treatment as their guide, and they later write the synopsis for pitching the script. There is no one way that works best, so use the approach that is most comfortable for you.
Where a treatment fits into all of this is if you want to create a more detailed outline that isn’t just a barebones listing of the major plot points in the story. Instead, you include a description of the setting along with the action, and you may provide a summary of what the characters will talk about in each scene, without providing all or most of the dialog, except in relating certain key points in the story, where a particular exchange or line of dialog is important. With this exception, the treatment is mostly a description of the story, which sometimes can read like a novel, although it doesn’t include much or any dialog or the interior thoughts, feelings, and intentions of the characters.
Often a treatment is not necessary when you are pitching a script. Besides responding to a short initial query letter or very brief phone or in-person pitch (about 250-400 words for the letter; 10-15 seconds for the pitch, producers, agents, and managers typically ask for a synopsis or if they want to see more, they may ask for the first 5-10 pages or the entire script. Potential investors will commonly ask for a synopsis and business plan in addition to the script. But asking for a treatment is less common. In fact, in my five years of pitching scripts and getting a few scripts in production or under option, no one has asked to see a treatment. They have all asked to initially see the synopsis, both the synopsis and script together, or just the script.
So why write a treatment, and when should you write one? There are a few times when it is good to do this:
– You are producing the script yourself, and you want to work out more specifically what will happen where, what characters will be involved, and what the budget might be given those details.
– You want to more precisely lay out the story line of the script, before you write the dialog.
– You are working with a co-writer or plan to hire a ghost writer, who will use your treatment as a guide to write the script; or a treatment may be a helpful guide if you want a novelist to expand your script idea into a novel and you haven’t yet written the script.
– You only have a synopsis and don’t have the time or ability to write out the script; so you want to protect the story and characters with a copyright.
– A potential partner, producer, production company, investor, or a person writing a budget wants to see more precisely what happens in the story, but you haven’t yet written the script.
– And perhaps you may think of other uses for a treatment.
In sum, while a treatment may often not be necessary, particularly if you are writing the completed script yourself, there are times it may be useful. And just like the synopsis, outline, or script itself, you can feel free to modify or change whatever you write, as you have new ideas, get feedback on ways to improve the story and script, or find that the original version is too costly to film, so you need another version that is less expensive to produce.
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Gini Graham Scott, PhD, is the author of over 50 books with major publishers, including two on the film industry: THE COMPLETE GUIDE TO WRITING, PRODUCING, AND DIRECTING A LOW-BUDGET SHORT FILM and FINDING FUNDS FOR YOUR FILM OR TV PROJECT, both published by Hal Leonard. She has written and produced over 50 short films, has written 15 scripts for features, has three other films in preproduction, and has one feature film she wrote and executive produced in post-production for release in November 2014. She also writes scripts for clients, and has several film industry Meetup groups which have meetings to discuss members films.
by Gus | Oct 21, 2014 | Marketing Tips, Marketing Tips - Films
In addition to writing a complete script, you should create a synopsis or treatment, since many producers, agents, and managers, as well as potential investors if you become a producer, will want to see this. A synopsis or treatment is a way for them to see a little more about the project to help them decide if they want to see the full script.
The synopsis is commonly a 1-2 single-spaced page document in which you feature the highlights of the script. Preferably keep it to 1 or at most 1 ½ pages, and if there is a second page, print out any printed copy back to back, though usually you will send this in a PDF format via an email attachment.
The treatment is basically an expanded version of the synopsis in which you write out the main action in the script without dialogue – or occasionally include dialogue in a paragraph describing the action to help dramatize the story. Perhaps consider this like a condensed form of the script featuring the story-line, without the dialog. . I have personally found treatments unnecessary, since typically, after seeing an introductory letter or having a brief phone or in-person discussion of the project, the producer, agent, manager, or other party will ask to either see a synopsis or the full script, and some will want a synopsis along with the script.
You can write this synopsis before or after the script, and you can always adapt and modify it should you change the script. I commonly write the synopsis before I write the script, since this then becomes an outline I use as a guide for writing the script, though I sometimes make changes as I go along, as the story and characters suggest other directions. Then, I revise the synopsis as I make these changes or at the end of writing the script. Others prefer to write a separate more detailed outline to guide them, while some expand an outline into a treatment that they use to write the script. Still others may write a script with only a general outline of what to write and do the synopsis at the end.
Use whichever approach works best for you. The point is to have a short synopsis you can use when you pitch your script to producers, agents, managers, and possibly investors, whether you use this as a guide for writing your script or not.
There are several ways to write a good synopsis, just as there are several ways to write a good query letter or treatment.
One approach is to create subtitles for the different parts of the synopsis, which generally include these:
Logline – a one-sentence 20-35 word summary of what the film is all about, plus include a phrase about you as the writer if you have industry credits, such as by the writer of (NAME OF FEATURE FILM).
Genre – a phrase featuring the main genres (ie: drama, comedy, sci-fi, etc.)
Synopsis – three or four paragraphs highlighting the major plot points
Appeal of the film – a sentence listing the film’s main audience (ie: women, sci-fi fans)
Author’s Bio – a one paragraph summary featuring your industry credits
Finally, conclude with a call to action by inviting the contact to ask you for further information or see the synopsis or treatment (if you have one) or the completed script.
Another approach to writing the synopsis is to feature these main sections, but combine them into a series of paragraphs. I prefer this format myself, since I like the continuous flow of one idea into another.
If there are many characters or subplots, focus on the main characters and central plot of the story, and include a reference to other plot lines in a sentence or short paragraph that sums up the subplot and relates it to the central plot. For example, you might write something like: “Meanwhile, as Jeremy was going through a series of challenges in seeking to stop the reservoir from overflowing in order to save the town, his fiancée was plotting with her secret lover to stop Jeremy, because they were partners in a scheme to develop the property after the homes were destroyed.”
One of the big mistakes that writers make in writing a synopsis is to cram in all the details about all the plot’s twists and turns created by different characters, which can become confusing and difficult to follow. Leave the extensive plot details for after a film industry professional has asked to see more.
The other big mistake writers make is being too vague or leaving the reader guessing about what happens in the end of the story. While it can be fine to tantalize the prospective viewer with this uncertainty, agents, managers, and producers generally want to know the ending. Some writers try to leave things very vague since they fear someone stealing the story. But the way to protect yourself is by filing a copyright on the script, and if you make the synopsis appealing enough, film industry pros will want to contact you and see the full script, rather than trying to steal the idea from you. Then, too, if your synopsis is so vague that it just seems like an idea, you can’t protect it, since ideas cannot be copyrighted. So don’t just say something like “Jerry received a warning which turned his life around and led to everything else that happened. “ Instead, say what this warning was for and describe what happened to change his life and what he did then.
Once you have a completed synopsis, you are ready to start pitching your script to agents, managers, or producers or you can pitch a completed film based on your script to potential investors.
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Gini Graham Scott, PhD, is the author of over 50 books with major publishers, including two on the film industry: THE COMPLETE GUIDE TO WRITING, PRODUCING, AND DIRECTING A LOW-BUDGET SHORT FILM and FINDING FUNDS FOR YOUR FILM OR TV PROJECT, both published by Hal Leonard. She has written and produced over 50 short films, has written 15 scripts for features, has three other films in preproduction, and has one feature film she wrote and executive produced in post-production for release in November 2014. She also writes scripts for clients, and has several film industry Meetup groups which have meetings to discuss members films.
by Gus | Oct 21, 2014 | Marketing Tips, Marketing Tips - Films
This will be the first in a series of articles on how to go from an idea to a completed film or TV show, whether you find an agent or manager, a producer or production company to take over your project, or decide to raise funding to produce the film or series yourself. These articles will become a book once completed.
The first step is coming up with the idea and deciding if it merits being turned into a script or TV treatment. Think of your idea like a logline for a film or TV show – a one sentence description of about 20-35 words that sums up what your idea is all about.
At this idea stage, it is good to get feedback from others, and also do a little research to see if the idea is new and hasn’t been done before or at least represents a novel twist on something that has been successful in the past. You can do this research by putting words related to your idea in the IMDB or other search engine. This process will also help you avoid using a title for a film that has already been made. While no one can protect a title, unless it has become a trademark, such as for a franchised series, you don’t want to use a title of something that has been done before. Even though your title is simply a working title, since any company that produces your film may decide on the name, sometimes with input from distributors, you still want to call your film by a new name.
When you run your idea by others, it is best to limit this feedback to trusted people you know, since an idea by itself can’t be protected. You have to develop a synopsis, treatment, or script in order to create a copyright and later register you can register this with the Copyright Office (and some scriptwriters also register the script for 5 years with the Writers Guild of America (WGA), though you actually get the best protection with a Copyright. Once you do have a written synopsis, treatment, or script, you can hear what others think of the idea, and they may even give you some input on how they see the scenes developing, which you can use or not.
Another approach I have found helpful for getting input on ideas or on the later phases of development for a script, film, or TV show is a small focus group of associates in the film industry. While friends and family might be supportive in giving you opinions, the danger is that they may be too receptive to your ideas, because they want to be nice, rather than giving you honest feedback. Also, associates in the film world are usually a good source for feedback, because they are already generally familiar with what works and doesn’t work.
If you aren’t already connected to some people in the film industry, a good way to start is through some local film groups, which may be affiliated with a local art school, college or university with film programs, or a Meetup group for films in your area. Or start a local group yourself and reach out to others in the local film community who may want to participate in such a feedback group. If you are in the San Francisco Bay Area, I already have some Meetup Groups that have a meeting called a Film Exchange about once a month (www.meetup.com/bayareafilmandtvconnection ; www.meetup.com/filmandbusinessconnection; and www.meetup.com/sanfranciscofilmindustry, and I have two groups in L.A. as well, which have assistant organizers.
Then, at the meeting, ask what people think of your idea and take notes. You can pass out a description or read it aloud for feedback.
If you have several ideas, you can use this feedback to decide which idea to pursue next. In this case, you might list a series of short descriptions on a single sheet of paper and pass this out to others individually or in the group, and ask them to tell you which they like the most or don’t like. One good way to do this is to ask them to rank the ideas on your list from 1 (the one they like best) to the highest number on your list (the one they like least). Either let them read the list themselves or read it aloud with them. Finally, review the responses and see which idea or ideas got the highest ranking. If it’s not immediately clear, you can get averages for the rank of each idea by adding up the numbers and dividing by the number of individuals in the group. That’ll give you the average ranking, with the lowest number the most popular idea.
Then, based on this input and your own feeling about which idea you like best, start by developing that. The next phase is to create an outline for your script, and that can be further developed into a synopsis or treatment. Or if you have a more intuitive fluid approach to writing, use your initial idea as a guide to writing the script and develop the synopsis or treatment after that.
In short, find the idea you want to work on, and the next step is to write a synopsis or treatment or write the script. In either case, if you are an unproduced writer, you will generally need a completed script, whatever steps you take next to get there.
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Gini Graham Scott, PhD, writes frequently about social trends and everyday life. She is the author of over 50 books with major publishers and has published 30 books through her company Changemakers Publishing and Writing. She writes books and proposals for clients and has written and produced over 50 short videos through Changemakers Productions. Her latest books include: HOW TO FIND PUBLISHERS AND AGENTS AND GET PUBLISHED and THE BATTLE AGAINST INTERNET BOOK PIRACY.
by Gus | Oct 21, 2014 | Marketing Tips, Marketing Tips - Books, Marketing Tips - Films
A crowdfunding site can not only be used to raise money to help publish a book, produce a film, or fund entries into book or film festivals, but you can use the site to increase your visibility and following. Plus you can contribute any money you raise to help market and promote your book or film, whether it’s with another publisher or producer or you publish or produce it.
Here’s how:
- Use a fundraising site without a timeline, so you don’t have to limit the campaign to 30, 60, or some other set number of days and have a countdown. This way you can keep the campaign going as long as you need to, so it always looks current for a new person coming to the site.
- Continue to build interest from those who have already joined the campaign with updates at least every 2 or 3 days. These updates helps to keep them involved and tell others. Often these updates will not only go to those who have joined but into the site’s newsfeed on Facebook, LinkedIn, and Twitter.
- Let prospective publishers, agents, producers, and production companies know about your crowdfunding site. They will be impressed by your energy in building interest in your book or film. Also, they will see this campaign as a source for funding additional marketing and promotion as well as building additional buzz for your project.
- Send personal emails with appeals to your own mailing list. It helps to build momentum if you get to at least 25-30% of your goal, before those outside your network start to show interest. Also, once you pass a certain threshold, the crowdfunding site may feature you, too.
- Keep at it and don’t get discouraged if you initially get a low response. Commonly, campaigns that quickly get high numbers already have a built-in fan base, such as Veronica Mars, or they are pitching a cool product, especially if it’s high-tech, since companies often use crowdfunding to sell a product through advance sales. Too, high-tech companies commonly have a network of entrepreneurs eager to be the first to support the next new thing. By contrast, books and films often have a slower start in a fairly cluttered market, since so many authors and filmmakers are seeking funds for their project. So you have do more to stand out to inspire people to want to read your book or see your film.
- Post a sample chapter or a trailer or sizzle reel. This short intro can help to get people interested in reading or seeing more, as well as supporting your campaign. Then, as popular interest increases, so will the interest of potential publishers, agents, and producers.
- Create a poster for your book or film. Imagine what a poster might look like when your book comes out with its final cover or your film is in the theaters. Even though this may not be the final poster, a professional-looking poster helps your book or film feel more real, which can help convince prospective publishers, agents, or producers to take on your project. They can better visualize your book or film promoted in the marketplace and can see how you will help to promote the project.
- Use the social media or press release to the traditional media to spread the word. Aside from sending out updates, create other short messages or blogs every day or two and post them on the pages of individuals and groups interested in books or film. Write your release like a 300-500 words news article, and emphasize the uniqueness of the story or subject of your book or film. If possible, tie your message about your book or film into the current news. If there is a charity or celebrity link, such as an endorsement from a star or well-known organization, highlight that, too.
- Include a photo or video link in your press release. This will help you get coverage, since it will be more dramatic and eye-appealing.
- Create joint promotions or work with others to spread the word. One good approach is to partner with social networking sites or book or film organizations. Ask organizers to feature your announcements or invite you to present at events.
- Offer a copy of the book or DVD of the film. This is like an advance purchase, but you can offer a little more, such as being the first to get a copy, a signed copy, or VIP tickets to a launch party.
So now start thinking about your crowdfunding campaign and how you can use it to help you promote your book or film and find a publisher, agent, or producer.
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GINI GRAHAM SCOTT, Ph.D., is a nationally known writer, consultant, speaker, and seminar/workshop leader, who has published over 50 books on diverse subjects, including business and work relationships, professional and personal development, and social trends. She also writes books, proposals, scripts, articles, blogs, website copy, press releases, and marketing materials for clients as the founder and director of Changemakers Publishing and Writing and as a writer and consultant for The Publishing Connection (www.thepublishingconnection.com). She has been a featured expert guest on hundreds of TV and radio programs, including Good Morning America, Oprah, and CNN, talking about the topics in her books.
