EJ Pennypacker
Well-known member
THE IMPORTANCE OF COMMERICAL IDEAS (before you actually write the script).
I just wanted to chime in here and lend a hand to those writers who are on a more advanced/ intermediate level (for those that might have stopped writing those ‘practice projects’ and have learned their craft, revised their craft, and are ready to write a more ‘commercial’ based project with the hope of landing an agent/manager/exec sale, etc).
This whole thread talks about the “process of writing” a script, but I wanted to highlight a critical factor into what will make or break your script, even before you write it…
THE PREMISE
The big idea. Concept. It’s got different names, but it all means the same.
What makes your story different and unique from what’s already out there?
I just want to press the importance of having a solid, commercial idea (if you’re not into writing that type of story, then stop reading now) that is the type of material that will hopefully start -- or sustain your career.
Obviously when you solicit your material to agents/managers/production execs, you’ll send over a query with a logline. And it’s that logline that obviously sells your story. Because at this stage, your script actually won’t. But in most cases, it’s that logline that DOESN’T SELL YOUR STORY and gets passed on. “Thanks but no thanks!”.
We’ve all been there before (most experienced writers at least). We’ve sent out 50 loglines, only to have a handful of people respond with questions or DING-DING get ‘read requests’.
But obviously, the more commercial and broadly appealing the concept is, the more your chances will increase of a request to read.
IMO, it doesn’t always need to be HIGH-CONCEPT (click here for a thread on what constitutes HIGH CONCEPT), but instead just be original and striking, something that POPS and makes people who you tell it too (could be friend, lover, mother) eyes spring open, mouth go gape, and they exclaim: “That’s a really good idea!”.
AGENTS/EXECS/ETC
Think of it from the agents/managers/producers end. They want something that people flip the hell out over. Something that when they pitch to someone in their office, they scream: “Excellent idea!”. Something that will make plenty of $$$$.
Obviously those ideas are few and far between, but this ain’t easy. Nor is it meant to be.
A good internet source for checking out on what’s currently selling, is sites like www.trackingb.com and www.donedealpro.com. The first is free for the info over two weeks old (that’s fine with me) and the second is worth the $23 per year (but is updated daily and gains you accesses to the vast database of other stuff).
I didn’t want to write this to bash all those people who are writing personal/intimate projects that’ll probably do well in contests and alike (with perhaps those ideas being mostly un-commercial), but this is just a highlight to the newbie-to-intermediate wannabe who may be mulling over their next project, and may take on the challenge of writing a more commercial, broad appealing, dare I say “studio” script.
Because at the end of the day, I see it as a clear two step to landing a deal. Getting the damn script read in the first place, then executing the idea in a manner that convinces the person to part from a lot of money.
EJ
I just wanted to chime in here and lend a hand to those writers who are on a more advanced/ intermediate level (for those that might have stopped writing those ‘practice projects’ and have learned their craft, revised their craft, and are ready to write a more ‘commercial’ based project with the hope of landing an agent/manager/exec sale, etc).
This whole thread talks about the “process of writing” a script, but I wanted to highlight a critical factor into what will make or break your script, even before you write it…
THE PREMISE
The big idea. Concept. It’s got different names, but it all means the same.
What makes your story different and unique from what’s already out there?
I just want to press the importance of having a solid, commercial idea (if you’re not into writing that type of story, then stop reading now) that is the type of material that will hopefully start -- or sustain your career.
Obviously when you solicit your material to agents/managers/production execs, you’ll send over a query with a logline. And it’s that logline that obviously sells your story. Because at this stage, your script actually won’t. But in most cases, it’s that logline that DOESN’T SELL YOUR STORY and gets passed on. “Thanks but no thanks!”.
We’ve all been there before (most experienced writers at least). We’ve sent out 50 loglines, only to have a handful of people respond with questions or DING-DING get ‘read requests’.
But obviously, the more commercial and broadly appealing the concept is, the more your chances will increase of a request to read.
IMO, it doesn’t always need to be HIGH-CONCEPT (click here for a thread on what constitutes HIGH CONCEPT), but instead just be original and striking, something that POPS and makes people who you tell it too (could be friend, lover, mother) eyes spring open, mouth go gape, and they exclaim: “That’s a really good idea!”.
AGENTS/EXECS/ETC
Think of it from the agents/managers/producers end. They want something that people flip the hell out over. Something that when they pitch to someone in their office, they scream: “Excellent idea!”. Something that will make plenty of $$$$.
Obviously those ideas are few and far between, but this ain’t easy. Nor is it meant to be.
A good internet source for checking out on what’s currently selling, is sites like www.trackingb.com and www.donedealpro.com. The first is free for the info over two weeks old (that’s fine with me) and the second is worth the $23 per year (but is updated daily and gains you accesses to the vast database of other stuff).
I didn’t want to write this to bash all those people who are writing personal/intimate projects that’ll probably do well in contests and alike (with perhaps those ideas being mostly un-commercial), but this is just a highlight to the newbie-to-intermediate wannabe who may be mulling over their next project, and may take on the challenge of writing a more commercial, broad appealing, dare I say “studio” script.
Because at the end of the day, I see it as a clear two step to landing a deal. Getting the damn script read in the first place, then executing the idea in a manner that convinces the person to part from a lot of money.
EJ
...thnk u
