Hundreds of spec screenplays have been sold over the years for millions of dollars. Unlike the actor, who needs a stage and audience to perform, all the writer needs is a pencil and paper. Computers are helpful but not necessary.

But is it the easiest way to make a living? CERTAINLY NOT. It's very difficult, and if you're not prepared for constant rejection, read no further. If you want a steady salary go into the health field or perhaps teaching. Anything but the movie business. Even if you "make it" you never know when it'll dry up. Remember you're only as good as your last hit film. This is a tough town that eats its young. Write money making movies and you'll have every agent and producer banging at your door, write a bunch of clunkers and it's back to early bird dinners. Think about this before you write your first "FADE IN."

Why should I write on spec?

Because if you've never written a screenplay before, no one will pay you to write one...unless you have the rights to a great story and you make that part of the deal (but that's an unusual situation). The fact is, you have to write a few well written screenplays before someone will take a chance on you, a new writer. Oliver Stone wrote about a dozen screenplays before he sold one.

If that's the case, why does someone like Joe Eszterhas (Basic Instinct) write on spec? Can't he get an assignment?

Sure, but for Eszterhas it's about money and control. He knows he'll get more money with his finished product than if he pitched the idea first and got a writing assignment.

Also, he gets to write the script his way with no interference. But the downside is that once the studio buys it, the screenplay becomes theirs to do as they wish. Joe, though, probably would have something to say about that. He's powerful enough to exert pressure on the studio not to have him re-written without his consent. Most writers, especially new ones, are not in that position.

As a new writer, will I be doing any re-writing once my script sells?

Perhaps, but probably not. Most new writers are dismissed and more experienced writers are brought in. Does this guarantee a better script than the original writer could've provided? Not necessarily, but that's the studio's big budget way of doing things. You have a better chance at remaining with a project if you're dealing with an independent company or smaller producer. It's more cost effective for them this way.

Many times a studio buys a script from a new writer with little or no intention of using any more of that script than it's two or three line logline. In other words they're buying the story idea and nothing more. They throw out the script and get William Goldman, say, to turn the germ of an idea into a masterpiece. And at a couple of hundred grand a week he'll try his damndest to do it, but even Bill might not be able to deliver the goods. So then they'll get some other hotshot writer to give it a whirl. This'll keep on going until they get a script they want or they give up trying. No skin off their backs, everyone is making great money, whether movies are made or not... but after a while if the producers can't get any movies off the ground, they might end up losing their studio deals. In a way, then, it's in their best interest to come up with a great script. It's just not that easy.

Do I really stand a chance of selling my screenplay? I'm not in the loop. I'm not a white male in my 20's to 40's and I don't live in Hollywood.

If you have a good enough screenplay your chances are better then ever of selling it. Sure most screenplays you see produced were written by white males in their 20's and 40's. It's a fact that can't be disputed. Is this a sexist thing or a racist thing? Absolutely not. The only color the movie business knows is GREEN. The reason white males sell most of the screenplays is because there are more scripts being submitted by white males. It's a percentage thing. Also the power elite is comprised primarily of white males, so they buy what they know best. But things are changing. More minorities are entering the business now than ever before. Think positive. Realize that it's not important who is writing the script but what's on the page that matters. In Hollywood, Stallone isn't king, Spielberg isn't king. The STORY IS KING!! Always has. Always will be. Write a unique, passionate story with interesting, intelligent, passionate characters that don't talk down to the audience, make it dramatic, throw in some twists and turns and people will take notice. Did you notice that I wrote the word, "passionate," twice in the preceeding sentence? Know why? Because that's what fuels this process. It's what fuels life! Without passion forget it.

Now where was I?...Oh, you can be a white male that grew up in the Hills of Beverly or you can be a sixty-five year old black grandmother from the backwoods of Tennessee. It doesn't matter! What you write matters! Hollywood is desperate for good stories and good story tellers. Never forget that. Everybody has a story to tell. Some stories are more worthy than others of becoming movies, but we're all storytellers.

Agents

Repeat after me...
"I will write a great screenplay then I will get an agent..."
"I will write a great screenplay then I will get an agent..."
"I will write a great screenplay then I will get an agent..."

Keep this thought. Maybe you even want to record it and play it back while you're sleeping.

Do I really need an agent?

YES YOU REALLY TRULY NEED AN AGENT!

Did I say that loud enough?!

Agents are your seal of approval. Producers and studios execs don't have the time to read everything. If they did they wouldn't be able to make any movies. These guys and gals need a screening process to weed out the flotsam that's floating around out here, and that's where the agents come in. Hopefully they'll get rid of the flotsam but not always.

Anyway, go after the agents who might consider taking on new clients... better yet go after any agent you think might consider looking at your script. They might tell you that they don't want any new clients but what agent would turn down 10% of a five hundred thousand dollar payday? The answer, no agent in their right mind. So if you feel you have a winner, forget what your Aunt Fanny, who has a friend who has a cousin in the business told you. If there's money to be made the agents will read your screenplay.

Read between the lines (This business is predicated on reading between the lines). "I'm sorry but we're not taking on new clients at this time," now becomes, "Don't send us your lousy script! If you have a winner, you'll figure out another way to attract our attention!"

And the other way is up to your imagination. Write them a great query letter, get someone they know to introduce you, or better yet meet them in person.

But how do I do that? I live in Duluth?

Hop on a plane and get over here. Afraid of heights? Take Amtrak. The clickety clack of the train passing over the rails, keeps you up at night? Then walk! But get over here! Don't worry I'm not telling you to move. We wouldn't want that to happen. The supermarket check-out lines are long enough as it is. Just spend a few days here. You know a scouting trip.

Now as soon as you get here, I mean "as soon as," the nano second you're on Los Angeles turf get to work. Start talking to people. If you're shy and can't do this get back on the train or plane or whatever you came here on because you ain't gonna make it. Winning script or no winning script, it won't talk. Sorry to have to break this to you like this but better now before you spend daddy's inheritance and sell the hardware store he left you.

If you can't communicate your passion about your material and why it is a winner, you'll never get others to.

Talk to anyone and everyone. If you do this long enough in Los Angeles you are guaranteed into running into someone who has some connection to the business. Last week I was shown a condo by Steve M. His brother has sold a ton of spec screenplays. That's a connection! Now I can get a hold of Steve's brother and maybe he'll respond simply because his brother referred me to him.

If you're visiting for a short stay, keep reminding yourself that every moment is valuable. Use them wisely.

Now, whether the person you meet is a part-time reader for the Jack Scagnetti Talent Agency or an extra a year ago on a Sandra Bernhard movie, they can provide you with valuable information. Drill them with questions and write down the important stuff. You might find out about a seminar that weekend or a Hollywood party you can crash. Or maybe you can use their name as an in to an agency. Whatever it is, as you walk around town keep thinking that anyone can be a potential help to you.

At many of these seminars agents, producers, screenwriters and executives are invited to speak to Hollywood hopefuls. For a fee ranging from $75 a day up to about $200 a day you can listen to what these people have to say. Sometimes they will hang around after the seminar and talk to you one on one. Sometimes they flee out the back door. But if you're lucky and get to speak to the head of an agency you have two minutes or maybe less to pitch your story. Here's the moment of truth. Take a deep breath and give it all you've got. If it's as good as you think it is, maybe that other person will agree. If they do, you go back to Duluth and get your script in the mail the next day. (Don't hand it to them right then and there because it's tacky, besides they might leave it in the bathroom).

But after you send the script to the agent, don't go out and run your credit card ragged. Remember you didn't get any money yet. All you did was pass a major hurdle. You got an agent to say they'll look at the script. Hopefully they will and by the end of this century but sometimes people agree to things in person that they have no intention of carrying through on. Another one of the sad truths of Hollywood. Anyway not to worry because you will be making other contacts before the weekend is out. Right? Right!

More about making contacts next month. I have to go now. My mailman is here and he has this screenplay he wants me to read....

Contacts Have you ever written a newspaper article or a book? No? Start thinking about it. Here's what you're going to write: "Screenwriting In The 90's" You'll either be writing the a self-published book or an article for any newspaper of your choosing. You don't have to tell the person you're interviewing that you weren't commissioned to write the piece or that you're not on the staff for the newspaper. All you say is that you're writing an article for a local newspaper. And you are! Whether or not they'll print it is another story, you're writing the article for them, so it's not a lie. Now that you're a reporter make some calls and set up some interviews. Who do you call? Agents and/or producers who you want to do business with. Who are they? Check out the Spec Screenplay Sales Directory. In this database, you'll find lots of people who can help get your screenplay sold. Tell them that you want to interview them for your book or newspaper. If they agree wonderful. Go do your research, come up with fifteen questions or so and ask away. Then write the article and send it off to the newspapers. If they publish it great, if they don't at least you made an industry contact. Now you can approach the industry person you interviewed and perhaps they'll read your script because now they "know" you. But you'd better have a good script or you'll blow a golden opportunity. Maybe you should wait until you have a few scripts under your belt before trying something like this. I'm reading too many scripts of late that aren't up to snuff. Screenwriting takes time to master. One in a million sell their first screenplay. Remember that.

Big Agency or Small Agency?

If you're an established screenwriter with a few options and/or sales under your belt you can do as you wish. The doors are open for you.

If you're a novice, THINK SMALL!! Mike Marcus, who used to run MGM studios and is now a personal manager told me that the big agencies don't have a lock on writing talent. He added that MGM would consider screenplays coming from any "viable" agency, meaning ones already in the loop that are based in Los Angeles and perhaps New York.

Don't even think about the top agencies. Even if you have a contact there. (Unless it's your immediate family member).

Because what will happen is you'll send your script over and wait and wait and wait. The biggies aren't interested in you. But think about it a moment, it makes perfect sense. There are only eight maybe ten hours in the normal workday. These agents are busy brokering deals and reading scripts that will bring them tremendous amounts of money. Chances are good that if they represent the most sought after writers, they'll make a deal. Now along comes Mary Smith and her wonderfully written costume drama. Are the chances just as good that the agent will sell Mary's costume drama...(or an action piece for that matter) or something from their client with a proven track record? What would you do if you were the agent? As with the screenwriter, time is precious for the agent. Be realistic and go with the smaller agencies who will read your screenplays take your phone calls and yes, perhaps even sell your screenplays!

But How Do I Know Which Agents To Contact?

After doing some research, you'll be able to figure it out. The new Spec Screenplay Sales Directory list the names of many agents and agencies who have brokered the deals for first-timers. Concentrate on those but be sure to stay away from William Morris, CAA, ICM, Endeavor, UTA... unless you're a working professional already. Yes, some of the big agencies have brokered deals from first-timers but these first-timers have professional experience. They might have been newspaper reporters or television writers.

The online directory also lists attorneys that have brokered deals from first-timers, so perhaps that will work better for you.

Query Letters

If you can't get here in person, the old query letter to the agent is the next best thing. A query letter is designed to briefly describe yourself and your screenplay (the logline). Write it in a professional manner, no cutting out words from a magazine and pasting them on the page... unless you're story is about a psychotic killer who does this and you think the agent has a sense of humor but these days you have to be careful about things like this. You have might have the FBI pay you a visit.

Show confidence. If you mention that this is your first screenplay and you're not sure of the format, forget it. That letter is in the garbage faster than it takes to say "box-office bomb."

Write the best three or four sentences about your script that is humanly possible. If it comes out boring no matter what you write, you might have a boring script. If you describe it as an epic period piece that needs to be read to be appreciated FORGET IT! The agent has not time to waste on that script. My cleaning lady has no time to waste on that script. This isn't to say that if your script was made into a film it wouldn't gross three hundred mil. All I'm saying that you have to start the ball rolling by getting someone to read the damn thing and they won't read it if it sounds bad.

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