Hi, does anyone have success re-working a concept for a production company that liked the premise, gave helpful notes, but ultimately said No to the script with concept #1? It's a sci-fi feature with a premise that lends itself to many different possible thematic directions. My plan is to send them a 4-page outline with a cover letter on the new direction, wondering if that is futile b/c they already said No to the first concept.
Screenwriting : New concept, same premise by Geoff Wise
New concept, same premise
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They remember no. That's all I have to say about that.
It wouldn't hurt, but once the get to "no" it's usually no longer something they want. Notes can sometimes mean they like the story and want to take it to the next level, or notes can sometimes just be a test for a writer to while starting a new relationship. It can also be somewhere in between.
If they like you but not the concept, they will still be open to new pitches.
Tough call... if I were you, I'd send them something else while the window of opportunity is still open. I'd only send them an outline with the same premise if they specified that they like the premise the first time round. In the end, you also might just write something better the 2nd time around and they like it. The only person who can decide what to do is you because this is a personal career gamble.
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I wouldn't do that but I would ask them if they are looking for anything else in particular and let them know you are available to write something on assignment. Also I would let them know about your next screenplay when you are finished and remind them that they seem to like what you sent them before but it wasn't quite what they were looking for at the time. Your spec was successful because it resulted in making a making a new contact in the business.
Producers are fickle. Don’t read too deep into it. You had someone on the line and lost them. Cast back into the water and wait for your next bite. But don’t be fickle in return. Pick a direction that compliments your story best and sharpen it to a clean edge.
What's so special about this one production company that you can't walk away from? They (whoever read your screenplay) passed on your screenplay. Do you know the decision-makers there personally outside of work, shared dinners together?
Why do you want to spec a 4-page outline of the same premise when they (Employer/Buyer) already said no? Or bring more to them than pages. Bring Talent - " Exec XXXX, remember my concept XXXXX? Actor XXXXX is interested at playing the lead..."
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Not personally. But Vince Gilligan (Break Bad, Better Call Saul, X-Files) wrote 40 versions of Hancock. But could get the story to work. Hand it on. The idea of a drunk and broken super hero was something they loved. Not how he was telling it.
I attended a press screening for Hancock and the promoters made us surrender our phones at the door so we couldn’t record footage of “the big reveal.” It was all a gimmick and it was’t much of a reveal. Never got asked to hand in my phone at any other screenings.
I didn’t think it was great. I have tried to hunt down one of Vince’s drafts. Apparently they are available.
VG was hired to rewrite Hancock aka Tonight, He Comes, an original spec by Vy Vincent Ngo.
Dan MaxXx yep. Like he said, it was good money, but could make anything they wanted.
If anyone has a link, please add it to the thread.
Thanks Craig. I know the premise is gold, so I'll continue to hang alt concepts on it until one sticks.
Geoff Wise it is like the writing version of CPR, it only officially dead when we stop.
An update -- it's been two weeks since I sent company X the new concept's outline, have not heard back, not holding my breath there. I've made good progress on the new script, hoping it will open new doors for me with wider appeal.
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No is usually no. This is a biz where they say nice things about your script before they say no... More: http://sex-in-a-sub.blogspot.com/2016/11/death-by-encoragement.html
Geoff Wise No means no. Sending more of the same material that they said no to doesn’t look professional. They gave you notes. The door was open. Your next step was to send them some new ideas to consider...
No means: “what else do you have...”
Helpful, thanks. In this instance, I first privately asked their liaison to our screenwriters' group if they were open to a revised concept in tune with their notes. Was expecting silence or a "no" to this -- but the liaison wrote back: "Share an outline so we can input before you dive into a full rewrite."
Visit their web site. Study similar concepts and scripts. Tailor your rewrite to their genre style with a unique hook that makes your script High Concept, Binge Worthy, Marketable and Relatable Characters.