Screenwriting : Fan of some shows how to submit a script or an idea to an already established show, by Craig Lofton

I mean - generally you don't. You could try to acquire the rights yourself to a smaller property - you could get hired as a staff writer at a prod company that has the rights - or you could make your own unique film that gets props and those with the rights are impressed and want you to make their movie/show. I have seen one person before make a short fan-film of his own based on IP that got buzz a long time ago but that seems like a legal grey-area at best to me and I'd talk to a lawyer before I'd go that route personally.

They don’t take unsolicited material or material not generated by their staff because of rights. How much do they pay you, what about residual payments, if they are a WGA shop there are all the WGA rules. It is just easier for them to miss out on ideas.

I worked for the Producers of Highlander. I tossed piles of Fan scripts into the trash. It had zero to do with WGA. It’s all legal lawyer stuff.

Wanna write for the Punisher? First you make your own original stuff. The dude who wrote Amazon’s first and only original movie from their website search, he went on to staff for Luke Cage.

You’re gonna fail from jump thinking that writing fan fiction is your fast pass to a career.

Zero WGA issues. Okay. How would he get paid? As an executive producer on that episode? Or perhaps a one off payment to buy the rights to his story to avoid residual payments (WGA mandated) or even employ him for one episode paying him WGA minimums and then sack him.

You’re right all those options are there because the WGA imposes no rules on the employment of TV writers, silly me. What is the packaging argument about again? The treatment of TV writers in a nutshell.

The point I was making is that there are many reasons why they will just ignore external stuff when they have staff writers.

I don’t have horror stories about throwing piles of paper in a bin. Deleting PDFs perhaps. Computers have been around a while now.

Craig D Griffiths yes craig people print scripts in real

World making. I don’t talk theories. What does submitting fan scripts have to do with agencies and packaging? Let us know when you have an agent or work on a union show. Then I will believe you.

I always come back to a basic question, Craig Lofton - what's your goal? Write? Direct? Produce? Film? TV? Answer this and the path to achieve it will present itself. Then follow that path and persevere.

One thing that's true no matter what path you take is: there are no shortcuts. You WILL spend the time, the effort, the money it takes to reach success. EVERYBODY pays their dues in one form or another. To wit - if your goal is to be a staff writer on a show, you gotta move to LA. There's no getting around it (although in rare cases, if a show is based, say, in Vancouver, you'd have to move there). Staffing only happens in LA.

So answer your question, and take the first steps and be prepared to pay dues.

Lot of dues.

That's true, Dan Guardino (although 90% ARE in LA) but based on Craig Lofton 's original post, it sounds like he's interested in a "mainstream" show - which means LA. I wish it were different - I'm not in LA and trying to write and produce TV (to be fair, my stuff is very not mainstream), and it's 10X harder than if I were in LA.

most tv writers rooms start in either LA or NY. Then, they go to wherever filming locations, and just about every working tv writer says the same thing - move to LA or NY.

I liked the show too. I also like Iron Fist. Both are cancelled. But I felt they still have great potential for more. More action, more plot, more characters, more pain, and definitely more punishment. Unfortunately, I don't think there's any way producers would take any body submitting new ideas for any existing show seriously. We are on not influential, on their radar, or on their payroll. If only they would. If only a producer would. I wish a producer would. straight outta Content. Original content. But the biblical saying slays the dragon, You can't put new wine into old wine skins.

Just keep writing! And reading scripts. Get to know the companies (buy IMDb membership). Network. Trust the Universe. When it's meant to happen it will. Most importantly, Keep Writing!

Thanks Sarah Gabrielle Baron!

The only real use for stories about copyrighted characters is for portfolio purposes or for submission to TV Writer Training Programs and Fellowship.

But since there are exceptions to everything, here's a good Hollywood Story--

I can't name a name, but one of the original writer's on the TV show LOST wrote a film about established characters that was so good the Studio bought the script (to avoid a bidding war) from the Writer with no strings attached, and then went out and bought the rights from the actual owner of the IP.

The kick? 10 years later, still no movie.

Kay, there are 3 writers credited for LOST and 1 never worked on the show. The other 2 were 7-figure paycheck known writers

Dan-- Like I said, I can't name names

Dan-- By my count there are six Writer's credited with writing first season episode of Lost on IMDB, and three creators. And the person I referred to is listed as the credited writer on several of those episodes.

Kay, I am intimately familiar with Lost. I was part of the postproduction team for season 1. All the Lost writers are rock stars, friends of JJ’s.

I think in this case with these properties and similar ones from DC that were on TV or streaming services were canceled because of the shifting dynamics in TV/Film with the most recent mergers. Most of these properties from Marvel/DC on Netflix, Hulu, Amazon or whatever are being moved to either Disney platforms or for DC Warner Bros platforms eventually. They are trying to maximize capital by using their own platforms. So, I honestly don't think any of us would have a chance without being in LA or NY and connected.

Dan-- one of them is married to one of the oldest LA friends of my daughter.

Enough said.

Orlando-- This is all of paramount interest to me right now and I believe your assessment is primarily correct. It's why I'm stepping up to producing instead of just writing.

Disney owns ABC, FOX TV, HULU, ESPN and some other stuff. They are packaging it all together for $12.99. Warner Bros is struggling to do the equivalent, so is NBC/Universal, and Viacom is doing the impossible and wresting control of CBS away from the Redstone family for the same reason.

Epix is the model perfected. MGM (primarily) and others are behind it. They perfected the model-- produce, let someone else gather your audience, then lead that audience to your exclusive outlet to continue watching.

My company is going to try to emulate that, but with a more open attitude toward newbie access.