How to Sell Your Screenplay: The Real Rules of Film and by Carl Sautter

By Carl Sautter

An Emmy Award nominee and previous Moonlighting tale editor offers shrewdpermanent, well timed within details on how one can effectively marketplace a movie or television screenplay during this convenient guide.

So you've written a screenplay... Now what?
Here's a touch: learn This booklet! The determination
to make it within the leisure enterprise is only
a small point. self-discipline and coordination play
an very important issue as well.
This e-book not just covers the fundamentals of screenwriting yet digs deeper into the area of feature
films and spec scripts; it covers the wide
spectrum of episodic tv and alternative
markets. additionally, you will find out about the basic
elements of a script and the way to procedure agents
with your pitch.
Check this publication out! You'll be comfortable you probably did!

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Extra resources for How to Sell Your Screenplay: The Real Rules of Film and Television

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Introduces the characters and the problem . 2. Act II. The Middle. Complicate s th e problem . 3. Act III. The End. Resolves the problem . Act II is usually the longes t act ; Acts I and II I are ofte n equa l in length. On television , dramati c acts are not necessaril y relate d to th e break s for commercials. The three-ac t forma t i s followed i n featur e film s o n th e ver y rough guidelin e o f 30/60/30: a twenty-five to thirty-fiv e pag e firs t act, a fifty-five to sixty-fiv e pag e secon d act , and a twenty-five to thirty-five page third act.

Mos t shows an d studio s send unrepresented work back without openin g the envelope . A legitimate reason for this practice is that i t provides a measure of protection from lawsuits that claim ideas were stolen. This possibility has become even more of an issue since the highly publicized, successful lawsui t of Art Buchwald vs. Paramount , i n which the columnist claime d th e Eddi e Murphy fil m Coming to America was hi s idea. Buchwald' s victor y has spawne d dozen s o f other suit s b y writers claiming theft of material, some legitimate, many not.

Successes like Hollywood Shuffle, completed o n credit card financing; She's Gotta Have It; or Return of th e Secaucus Seven, can launc h careers. But overnight stardo m is not the norm . Writers/directors Jim and Ke n Wheat (Ewoks: Th e Battle for Endor) had a typically frustrating experience in producing their own feature script, Lies. Underfinancing jinxed their project. "We took the plunge even thoug h we had onl y raise d sevent y percen t o f the budget," explains Ken, "figurin g tha t w e coul d a t least ge t it in the can.

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