Screenwriting : Too Good to be True? by Jason Bradford

I have never turned down $5 million...

To my knowledge there have not been any feature sales thru stage32 yet. pls keep in mind options are different than sales.

I'm wondering if it's a trick question and the clue is in the title ? Too good to be true ?? .. Wx

Danny - now that you mentioned it, what are the statistics on options?? Which site or forum had the best chances?

Options are part of a script sale (in that the option agreement will include sales price, sales terms, (etc), in the event the producer secures funding which leads to a sale). So it's often difficult to tell the difference between an option and a sale... since the option is used by the producer to secure funding. If they option your screenplay they intend to buy it.

If I hear you right, William, an option is offered when there's an issue or plausible issue with funding... Not whether the rest of the producer's development department has issues with the execution of the script. Not a creative issue, but a funding issue.

Yes. An option is really a sales contract with $X down payment and $XX paid for the rewrite and $XX paid for second rewrite and $XX paid for the polish and $XXX payable when the film is funded or on first day of photography and $XXXXXXX paid if the writer manages to get sole credit once the film is finished. It will have all of this language in the option agreement. A producer will option the screenplay and then take it to a funding source (studio or independent) often getting preproduction funding to cover these costs and then going back again to get production funding. An option is not a consolation prize, it's a deal.

Where did you get the $234,000???? Sale of original screenplay: Low budget: $45,556 High budget: $93,257. http://www.wga.org/uploadedFiles/writers_resources/contracts/min2014.pdf If you are looking for averages: "Overall median earnings increased 25 percent between 2006 and 2012, from $100,000 to $125,000." But keep in mind that half of all WGA members earn $0 in a year, so that $125,000 may have to last you 2 years. http://www.wga.org/uploadedFiles/who_we_are/HWR14.pdf

I am pretty well versed on the definitions and the process, though I thank everyone for sharing about options, etc. Without going into too much detail, I was offered the funding for a screenplay that I have sat on for a few years while trying to find money for it. I, (like most writers), believe it has the potential to be more than an exercise in art but bring profit as well. A connection materialized that wanted me to produce this work in Maine, I live in Florida, and I was fine with that, hell, for a 5 million production budget, not too many places would be off the table. First, they loved the script. Next, they wanted an additional story line and I thought it would fit so I did a re-write and actually welcomed it. Then, one more re-write, (cue the ominous and dramatic music), I was asked to re-write it to include one more additional change... Lesbian, marital arts masters that are inspired to have pornographic sex scenes after the fight scenes. I have nothing against lesbians, etc. but I determined that I was not interested in going down this particular road. My curiosity for this post was about the success of Happy Writers.

I have been in this biz for a while and I have not encountered the level of deceit in which they were operating. Their happiness was less important to me than maintaining a level of comfort in which I prefer to work. The genres of film we were working in were that of psychological drama and sci-fi. When pornography entered in as a requirement to continue development, I pulled the plug. I am sure they have found a willing replacement for my production company.

Kudos to you, Jason! True north prevailed! William - glad you're on this thread. Nice to know half the WGA writers make zero - not for their sake, but it made me feel less of a loser!

If you just sell the screenplay (no treatment) were my numbers. But either way it's much less than a million bucks. This is not a very good get rich quick scheme.

To answer your question, I have not sold a script here. I have not sold a script "there", either (Inktip)....or "there" (SpecScout)...or "there" (Blacklist)...or even "there" (to a live breathing human body between Santa Rosa and San Ysidro, from the Pacific Ocean to the 15 Freeway). I have accepted a couple options....and I have turned down many options. I'm also in the process of having one of my scripts funded, and will be producing it next year (heavens willing)...with the assumptions that the whole deal will not fall apart; that I and my capital group will all still be alive; and that I will not be kidnapped, in jail or in prison. Just going by the hard facts and the approximate numbers a little bit: + Studios rarely buy spec scripts from unsold writers, and especially spec scripts that aren't based on an existing commodity that already has proven to be successful and/or that has achieved some degree of success - like a true story; a novel; a magazine piece; a comic book; a short film; or a web series. + Studios rarely buy spec scripts from WGA members who are sold writers and working writers. The ones I know have a box full of scripts, just like I do, and are grateful to be working in television, cable and in the Internet gaming industry. + There is around a 400,000 - 500,000 script inventory out there already. There's around 100,000 scripts registered every year...there was around 1,500 films made globally last year...there were around 120 spec scripts sold last year, and around 50 of those spec scripts were by previously unsold writers. + There are industry sites that track the sales side of scripts sold and scripts in the inventory, but nobody tracks the whole picture of all of the options that are contracted - only the high-profile options. I would wild-ass guess that there are anywhere from 40 - 50 options for every sale, and I'm basing that on the amount of prodco's that I'm aware of, and not on the amount of movies made or scripts sold. + There are even industry sites that track the progress of scrpts in that inventory. Your script that may have been turned down by 50 prodco's might even be in it. + Many prodco's may offer you a zero-dollar upfront option; some may offer you a couple thousand or so upfront, or maybe a little more; and some may base it on a WGA-style dollar range, regardless of your WGA status. + Most films made are based on previously-existing works - like comic books, short stories, novels or other media, or film sequels, pre-quels, and re-makes. So where does that leave you, unsold writer who doesn't have a comic book, short story, novel or other media? Well...look at the numbers above. And of those 50 or so spec scripts sold by previously unsold writers...I don't know if any of those scripts are based on a previously-existing piece of work. I would wild-ass guess once again....that most of them are. Don't get too sad, though, because you love to write - remember? And this is the reality of the landscape. So what you have to do is formulate your plan of attack to gain entree into an arena where many try to enter; a few do; and even fewer get to stay. I appreciate any opportunity to get my stuff into the hands of potential buyers. If my plan of attack was pitch sessions through sites like this, then I'd attack those prodco's and agents who I felt were the best fit for me. If I couldn't afford that, I'd query via letters, emails and phone calls the people I thought were the best fit for me. I'd enter whatever competitions I thought were the best fit for me. I'd query friends who have friends (who have friends) in the business. I'd do whatever I could...given my resources...to accomplish making succesful communications and attempts with people in the industry. Cuz we love to write, remember? And speaking of writing....I would....without a doubt...novelize my screenplay. Or turn it into a comic book. No doubt about that. I'd try to make an audience however I could. Because I love to write, and you do, too. Right? And I'd seek my own funding. It's doable, for sure. A lot of people have successfully done it. And a lot of people have made successful art as a result of seeking their own funding. I don't begrudge people who are trying to make money off of writers attempting to break into the industry. They are service providers. Authors...conference/workshops organizers...script consultants..screenplay competition organizations....exposure web sites.....web sites like this one....etc...etc. I do begrudge people who aren't qualified at what they do; or who are outright con men; or who are trying to manipulate people. That shit really gets under my skin. So it's up to you all to do your due diligence on any service provider; formulate a marketing plan for yourself based on your resources; seek out potential buyers who are the best fit for your product, and who are looking for exactly what you have; and write, write, write. Because we love to write, right?

Further to Bill's point, this site does offer a qualified service, and a better one than those others listed. In my due diligence this I know to be true. I make it a point to do look deeply into this cottage industry that seems to never end in it's get rich quick schemes and I have found a trusted resource here. Not only is my work being developed as a direct result of a pitch through Happy Writers, I've secured a lot of other work via connections on the site AND the Happy Writers staff go above and beyond for writers when they find one that is ready. What does that mean? It means very often, my material gets presented and requested via recommendations not pitches.

Jason, some connections/possibilities do happen privately. Many prefer to keep details quiet -- at least until they're ready to make announcements, if any. :) I do know writers have been signed, optioned, requested, hired and have found staff positions... Perhaps glance through Happy Writers success stories: https://www.stage32.com/happy-writers/success-stories

To add a few points: + I agree with Laurie's assessment regarding qualified service. I haven't seen a better site that offers as many high-level production company people or high-level management people as Stage32 does, and I've been doing this off and on for around six or seven years on the Internet. And it's not just in the pitch service - it's also in the coverage/consultation services, too. I don't offer praise easily, but Stage32 really provides some stellar opportunities and services to us writers. + WIth regards to seeking your own funding....you have to really do a lot of research; perform a lot of production development work; and know a lot about legal matters before you even start to try to raise money. You have to know market rates for all positions involved in a shoot; you have to know what the different union rates/requirements are; and you have to know what non-union market rates are before you can even create a budget and raise money. You have to know how to reach out to talent and offer contracts; you have to know about sets, props, sound, lighting, camera, editing equipment and related matters; and you have to know about local permitting matters before you can start to create a budget and raise money. You have to be able to know you can put together a crew; have locations at which to shoot; and that you can feed people before you can start to create a budget and raise money. You have to know about LLC/corporate matters; you have to have an attorney who has experience in putting together contracts; and you have to know if you qualify for tax benefits (which you don't realize until after the shoot) before you can start to create a budget and raise money. You have to know about bonding and insurance matters; you have to put together a solid production schedule; and you have to know how to put together a solid budget before you can start to create a budget and raise money. You have to know about friendly and unfriendly shooting scripts; you have to have a storyboard; and you have to have professional production software or access to it before you can start to create a budget and raise money. You have to know about rate books; you have to know about how to get distribution; and you have to know about film festivals and their requirements and application deadlines before you can start to create a budget and raise money. You have to know how to create a business plan; know about music licensing; and know about intellectual property protections and licensing before you can start to create a budget and raise money. THERE IS A LOT TO KNOW AND DO. And most importantly...YOU HAVE TO DO ALL OF IT RIGHT AND NOT GET SCREWED ANYWHERE ALONG THE WAY, or else you're gonna be LIVING IN A VAN DOWN BY THE RIVER. Heh-heh. RIP, Chris Farley. + And once again, kudos to Stage32 for putting together a great website that offers access to a lot of resources - not just for writers, but for all people working in, or with the desire to work in film, television and theater. Like Laurie said, it really is the best site of them all. And thanks for the kind words, Steven - I appreciate it.

this whole discussion makes me wanna drop writing altogether. thanks guys. lol

TV will dwindle in the coming year(s). Trust me. It was up until very recently, much easier to sell a TV show than feature. But the market is saturated with a shit ton of great content. The Netflixes need it so it's not going anywhere - but SOOOO many are writing pilots there's more of those than cable channels which will no longer be a value pack to subscribers.

Would like to complete William's first comment/sentence: ....and I only will if I know for sure that what ever it is, it's worth more.