Screenwriting : Did you post your loglines/screenplays? by Robert Hammond

I've only posted brief samples of my writing. I'll use the public internet as a last option after I've exhausted other avenues such as professional script coverage, contests, query letters etc.

Please understand, this is just what I do for myself... I NEVER post loglines or scripts online, period. My manager handles getting them out to the right people. But even before I had a manager, I was always reluctant to do that. A very well known producer once told me, "No one wants to buy a script that's been plastered all over the internet."

Be careful with Chuck, he has no clue what he's doing. Kidding, we're old buds. But, do be careful how much you spend on coverage and contests, Rob, it can add up quick. After you've gotten some critiques of a script, when you're sure its a winner, go for it! Franklin sounds interesting, maybe state his power in your logline. Chump also sounds good, maybe say "barely evades", since he's an inexperienced thief? I'd love to read them. Good luck!

I use portfolio scripts. 5-8 pages, not written for sale, but just to showcase my writing.

Jennifer, excuse my dumbness, like a sample script, do you start from the beginning, or pick a key scene? I'm simply too embarrassed to post my work here yet. But if you want to see some bad writing, I've got one on simply scripts.

No. My portfolio scripts are complete short scripts.

Jennifer.. that's a very smart way to show what you can do. Then, if they want to know if you have features, you can send them without exposing them to the everyone. Nice.

I got it from the graphic novel side of things. You get gigs by sending samples there. Sometimes the samples are solicited by the company and you have to write '8 pages including characters X, Y or Z' or '6 pages using any of our characters'. Sometimes they just want to see 'a sample'. But it's a normal way of doing things there. It simply made sense to transfer it to trying to get film/TV work.

Thanks for the replies all. I appreciate the sound advice.

Robert Register your work (script and logline) w/ WGA. If you are looking for feedback - join sites that require membership- peer ones like WRITE TO REEL or TALENTVILLE... when you've reached a high level with your work - post on something like INKTIP....

Great question and nice answers. I never posted my stuff before for fear of what could happen. So glad I haven't!

Jen you write a short vers of your feature? I'd love to do a graphic novel. Denise, post, don't be afraid. We're here to help :-) I'll post something soon.

Best you copyright them first and register them with the Screen Writers Guild Robert !

I mainly write novels. One of them started winning awards and getting all 5 star ratings on Amazon. I came on here and found a screenwriter to do the script for a split. It is posted. I had a few interested parties but nothing solid yet. I may produce it myself with some help next year as I get 20 Million from a fund. I did find out fairly fast by looking around the site that screenwriters level of ego and paranoia are pretty high. I don't see a problem posting a work if it is copyrighted and registered. I do that with all the work I produce.

Maybe because you're new to this genre, but I personally wouldn't post an entire script. You can generate the same interest with a good logline. IMO, you want to get interest, while having a paper trail of who's read the script. If you post an entire script somewhere you have no idea who's read it. Now, I've had friends who have had meetings and pitched to high ups and then seen those same producers sell and get those same ideas on TV and there's nothing you can really do once that happens. You can sue, but then there goes any chance of having a writing career, from what I've heard. I've also had indie producers tell me I can't share the idea we're working on together, with anyone. And then have had really high up producers not say a word about sharing the idea we're working on together. Maybe it's because once you have that kind of power, you figure it the writer screws up, then there's a million more writers to work with. Who knows. I think it's a fine line between sharing your work, getting noticed, and also protecting yourself. Registering your script can only do so much.

always register your work with the writers guild to protect it. After that Its up to you. I have several posted but I have just as many not posted.

News Flash! Hello from a script reader:) Your script is already all over the internet once you send it out to festivals or to an agent. All an agent does is send your script out to development companies for people like me to read and cover. The same with a festival where they hire any old Joe Smo to read your script because they are willing to work for free. You obviously asked this question because you are looking for feedback. In that case, sorry Ed K, you're sweet and cute, but all screenwriters need to invest a little money to get professional feedback. Do not and I repeat do not spend thousands for coverage. Those people are full of shit and make you think you are getting something more because you are paying more. They never tell you what scripts they wrote or movies they made. That is all hush hush info. I listened to many blow hards talk about what a script should be and what it should not be. They brag about their writers and how they got their scripts sold, but they never tell you who that writer was or what movie came out of the script they helped that writer write. I saw a script consultant ad online that wanted $5,000 for script coverage and that "successful" screenwriter may or may not be covering your script. She wrote a script for a low budget straight to VHS! 90'S MOVIE THAT NOBODY SAW! This is bullshit. I only charge $75 for script coverage and I never charge to give feedback on your final draft after you have made the corrections. Why so cheap? Because covering scripts is easy for me. I've been doing it for a while and I don't think I should charge so much for something that is so simple. Plus I really love helping writers improve their work. I am a writer too. And I hope to find that one writer that has a winning script that gets sold or at least a script that I can pass along to the development people I read for. Let me share something with you. Your script is never the version that gets sold. There is a ton of red tape and opinions that it has to go through first. I do a few for notes coverage a week where I have to make suggestions as to how to make the script better and point out the flaws. This means that they liked your bare bones concept, but something is off and needs fixing. If the writer is not capable of fixing the script because they don't have the writing skills(formatting, grammar/spelling, dialogue, structure,etc) then the development people will hire another writer to re-write your script. Are you scared yet? Pretty much, you need to be the whole package when you submit a script. I may pass on your script for a number of reasons but I may not pass on you as a writer. This means that they will keep your name on their radar to re-write a script that another writer could not write. This is how you get work and eventually sell a script of your own. For all of you who are afraid of putting your scripts out because someone might steal them, you should be afraid. But fear the writers that can't come up with their own ideas. If someone in development stole your script, you would not know it. I've seen so many scripts that have the same concept but a different execution. Whoever told the better story wins if a producer is looking to make that kind of script. I agree that you should not post your loglines for anybody to see. You can not protect an idea, only the execution of that idea. Invest in your writing. Oh and BTW, registering your script does pretty much nothing. All they do is collect your money and give you a number that will say that you registered your script on such and such day. If there is a dispute and you are not a guild member, they will not help you. You then must hire a professional reader to examine both scripts and determine what was stolen from yours. This is a very expensive process and good luck taking on a big time production company. They won't take it that far, they will throw you some money and send you on your way while another writer gets the credit for your work. If you have anymore questions, email me. I am always happy to help. Knowledge is free!

To expand on the WGA. First, don't put your WGA number on the bottom of your script. This shouts out novice writer louder than a cheerleader cheering on a quarterback. Your copy right starts on your computer when you are writing. Just remember to save each version of your script with the date on it and the computer does that for you, but just in case it crashes. I always keep the versions of a script that my writers send to me in case there is a dispute or they have a problem. Just do a poor man's copy right and mail your final script to yourself and don't open it. The WGA only helps writers who are members of the guild. They let non members use this service so they can make $$$$$$$$$$$$$$$$$

My thought is to not post a logline with an original hook or premise -- something that has never been done before until you've written the script AND you've received good coverage from a professional reader or service. Example of two premise driven loglines off the top of my head. Does one seem more riskier to post online if a GOOD script isn't already written? A family returns from vacation to find a squatter has moved in and made their mansion her home. Her wit and lovable charm convinces the wife and kids but not Dad who fights the law to get her out. vs The struggles and triumphs of Katie Hnida the first woman to play Division 1A football.

You can use a poor man's copy in court. I asked an entertainment attorney all about it because I was confused myself. Of course you wouldn't drag your computer to court. But it is sound of mind to the writer and just some added protection in the very early stages of writing a script when most writers are talkative about their ideas. If you write a short synopsis on your computer and then go tell a friend or your screenwriting meet up crew and someone takes your idea, you have proof that they took it.

You CAN use the poor man's copyright in court. Most of the time though, you will lose. And sending the script to yourself loses every time. That one is an old wives tale, disproved in many a court case. All you have to do is send an open envelope to yourself and put the script in and seal it anytime you want with the phony date on it. Lawyers know this and so do defense lawyers. When you can register your script with the WGA for 20 bucks and register your copyright with the Government for less than 100 bucks, it makes sense to do what will cover you the best. It you are going to invest everything you have to write a great script, you need to invest a little money to protect it. As far as putting your WGA reg number on your script.... if you write a great script, no one cares if you have the number on the cover page... and no one judges you for it. That being said, the reason I leave the WGA number off of my cover pages is that by looking at the number, the reader can tell how old the script is... and you always what them to think it's a brand new one even if it's 5 years old. Oh... and ideas are NOT copyrightable... only stories are copyrightable... anyone can take someone's idea and run with it... it just has to be a different take on it from yours. Thus you get, Deep Impact and Armageddon.... and any number of scripts with the same basic idea, but differing interpretations.

The reason why you mail it to yourself is for the post office date stamp and proof that it was returned to the right person. The more important thing is what is inside the envelope. Most people do lose their cases if it even gets that far. The big dogs are smart enough to cover their tracks and change the script just enough. But it's not the actual script that is in question, it's the concept. For example, the two movies, Just Friends and Friends With Benefits. It's the same concept, two friends sleeping together without being in a committed relationship realize that they are in love with each other by the end. The execution of that idea is very different. You can do the same thing. Just teach that old dog a new trick and you have something fresh:)

That was my point. You can't copyright concepts. You wrote "If you write a short synopsis on your computer and then go tell a friend or your screenwriting meet up crew and someone takes your idea, you have proof that they took it. " I was just stating that you can't protect ideas. Which is why I used the Deep Impact/Armageddon example... I'm glad we agree. But I still stick to my guns on registering your work. You invested yourself in writing it.... invest in protecting it.

Kristin T, thanks! I haven't been called sweet and cute in an age. I guess my point was, balance. You can spend thousands and still go nowhere. I'm speaking from a fiction writing pov too, where you can spend so much for no luck. That said, copyrighting costs $100 online. Its fair value for legal protection; but my experience has been no one wants to steal my material, they're trying to sell their own. Or maybe I have bad stories, heh. I may call you for coverage soon, $75's not bad.

I posted a script but it is from a Novel of mine so I am not too worried. I have plenty of good attorneys.

You can copyright online for $100

35 thanks! I thought 100 last time i did one. Id cright a script separatr from a novel. They are diff things.

Always copyright your script with the Library of Congress first, above all else. Yes, theoretically it is copyrighted as soon as it is in your desktop, but to prove it in court, LoC it. Then WGA protect it (after LoC registration). The WGA does not protect your script, but when sold/optioned, protects how much you get paid (depending on what you did, and what rights get bought). ALWAYS WGA protect your work after LoC. If the script gets sold and they get another more established writer to do massive re-write, you still get Story By--. Also, I am very reluctant to post either a Title or a Logline on the Net. The way the laws are written, when you do, it becomes public domain. And as you should also know, you can't copyright either Titles (Sister of a friend of mine lost the title for her first produced film because an actor who worked on her project mentioned it to the Producer/Director of another project -- at which point it was lost. The Title? "American Pie"), or Ideas (ideas can be changed, and then their not 'your' idea anymore). And yes, if you do it online, LoC is $35. Snail mail is $65.

Umm. That's a myth, Robin. Posting something on the internet does not, in ANY way, affect your copyright. What it may affect is what rights you can sell, which is not as important with scripts as it is with prose (Never post a prose story you intend to sell on the public internet, although password-protected sites are okay, or it is considered 'published'). Or did you mean it's considered 'published', because that IS true.

WGA registration is for If and when your project gets sold to a WGA Signatory. If you're just writing for non-union, then no, WGA is not necessary. I wish to sell to a Signatory, don't you? As far as the Public Domain issue is involved... You still maintain the Copyright to your work. But any Ideas you have in the work become up for grabs. Someone else can write a screenplay based on your work, change the character names and some plot, and voila! It becomes a new work. That's the reasoning behind that perennial boilerplate contract for submitting to Agencies/Studios that reads, 'You agree that we can come out with a film that has the title, names... [etc.] and it is Purely a Coincidence.' Or something to that effect. I personally want my Guild Card. I intend to become a Signatory. All the gains that have happened for Writers in Hollywood come from the Guild. Are they perfect? Far from it, but they are there. If you sell a script, their quotables tells you how much you get in a step deal, however far up you get in that deal.

Actually Dan... I met with a show runner at BET last night and she told me to be sure and always copyright my titles.

Dan is correct. No matter what the BET show runner told you, you cannot copyright a title. Just like you cannot copyright an idea. You CAN register a title as a trademark once it becomes iconic. Like Star Wars. But you have to prove to a court that it is iconic and that takes, well, making a Star Wars. Not a daily occurrence.

Robert, a logline is a single sentence (or should be) that summarises the idea for a story, far removed from a finished story (screenplay or otherwise). Consequently ideas and concepts are not copyrightable - Legally. If you want to know if your concept has merit, then you need feedback on your logline, so share it. I would never share any more than the that online. Even a one page Exec Summ, because it highlights the critical points of the story, should be shared sparingly. Like I said on another thread, copyright is a concept that gives creatives a false sense of security as do WGA registrations. NDAs are not appreciated by the film industry either, hence agents and lawyers if you're serious about getting your full screenplay read by those who can green-light it. FYI http://www.scribd.com/doc/111405486/Screenplay-Executive-Summary Good luck ;)