ASK & DISCUSS INDEX

7 years, 5 months ago - Paddy Robinson-Griffin

Hiya, I don't think anyone actually intends to discard a script just because of its order of writing! I suspect it's more a reflection that authors of multiple scripts and projects hone their skills and storytelling over time, and often get success with later scripts first.

For instance, if a writer crafts a great sci-fi, perfect in every detail, but requiring a budget of £30M, there will be very few production opportunities with companies seeking £30M sci-fi projects. Some of the producers the writer may meet along the way may be interested by the writing style and so ask the writer "What else do you have? I might be able to place a £1M rom-com". If the writer has a suitable script standing by, or a slate of scripts and stories they can submit whilst they have the producer's attention, they may get a commission on that fourth or twentieth script just through sheer weight of numbers because they have just the project that the producer was able to finance.

Reality is that it's a tough game from all sides and the best thing you can have to get your scripts made is a track record in getting your scripts made. Is it "fair"? Hell no. It's just how it seems to be.

7 years, 5 months ago - Vasco de Sousa

I think you should read what writers say. I'd suggest getting The Writers and Artist's Yearbook and reading what Alexander McCall Smith says about your first novel.

He says the mistake many writers make is just to have one novel, and only selling that. If you have at least two novels, you not only show that you're serious about this career, the experience of writing the second will improve the first. It will also be easier to take rejection on one if you have another waiting with another producer.

I heard the writer of Aladdin had written ten or more scripts before the first one sold. Then, he was able to sell the older ones on the strength of Aladdin's success. (I may be mixing it up with another Disney film, but you get the idea.)

7 years, 5 months ago - Marta Demartini

Scripts are like people, they have personalities which they project and some personalities that are extremely unique, need to be matched with a unique audience. If say, you believe in your work then get as many credible readers to take a look at it and give you an honest to god breakdown, if it is as you suggest you will find out and also what the strong points are and therefore how to direct it to where it should be.

7 years, 4 months ago - Anthony Cole

SP needs a rant section

7 years, 4 months ago - Marlom Tander

Investing the time and effort to do a damn fine first anything is simply the entry bar to qualifying for the race.

You have a script, I'm going to assume that it's perfect, and that you have been taking meetings and people have been excited. (If you haven't been taking meetings, and you have got it to the right people - that type film, that level budget - your script isn't good enough).

And then nothing happens.

Many possible reasons, and while they might tell you its the script, remember Dr House - "Everybody lies", and be open to it being :-

a) They decide the maths doesn't work after all. Expense vs probable reward, or even just "bigger money than they can raise". Know enough about the money to know if this is the likely true reason.

Also, if you are seeking funding yourself, don't shoot yourself in the foot.

I have sat in a meeting with someone who could fund 10M for a UK film and watched aghast as the writer and director/producer showed that they had no idea how to understand the money talk. I heard them get given a seed money offer that meant the funder needed to convert 50% of such projects into full movies to break even on seed funding, (i.e. the seed funder was basically committed to arranging full funding unless the project fucked up during dev). They thought that the funder was being greedy.

In the space of a few minutes a meeting went from funder keen to fund and team keen to get money to a funder realising that the team EITHER couldn't do money maths OR wanted the moon. Neither of which was going to get them any money.

b) They think you might be difficult to deal with.

Rule one of turning down a difficult person, you never tell them you are declining to do business because they are difficult :-)

You are the writer. Once the project gets moving the Director is the guy who calls the shots, and if it gets messy, the Producer. Not the writer. In early meetings one issue being considered is "is this guy going to be difficult? If we need him to compromise, will he?"

And of course :-

"If we need to sack him, will he take the money quietly, or try to cost us extra time and money?"

The one script guy might be thought TOO wrapped up in the project, in which case their money is much safer in their pocket. There are other writers with other projects.

This is why they like to see that you have multiple scripts in progress. If you have a number of projects then you are probably more likely to be flexible when shot happens and rewrites (that you feel are wrong) are needed.