Is it good? Is it great? Or is it useless? Should I show it to anyone? To whom? Is it ready to sell?

I have found that as someone’s experience grows, often so does their insecurity about the state of their scripts. Many newbies are overeager to market undercooked scripts.

Why?

They don’t know their own abilities. They don’t understand what constitutes a great script, and they hope someone else will tell them.

If you feel this strong intuitive urge to get validation from a producer or agent, you’ve got to ignore it. Do more work yourself: read great scripts, keep writing, and over time you’ll separate the wheat from the chaff.

True intuition is built upon experience.

What Does Your Screenplay Need To Achieve?

Whether you are ready to sell your script – or not – has a lot to do with your intended objectives. If you need to make a living from your work, perhaps you have no choice. Cashflow forces you to get it into the market. Sometimes even premature scripts sell. (Seen any superhero comic book adaptations, lately?).

Suppose you’re not 100% happy with the story, but your writing style is supreme. If you need work urgently, your script may become the writing sample that will get you other work. So you go and sell. Story ready or not.

In all other cases, if you can afford to wait, then do so while you perfect story and script.

No Such Thing As The Honest Truth?

Each has their own opinion about when a script is done.

If you ask a script consultant, they may argue that your script needs more development. It is in their interest to keep taking money from you. Never ask a consultant who is desperate for clients. Instead, go to the busiest consultant you can afford.

Better even, affiliate yourself with an industry professional who can read scripts.

In fairness, not many can. And those who can, are often too busy. Find someone you can trust. This could be a producer, a director or an actor.

Your English teacher friend is not the person to ask. You may turn to them for a proofread on typos, spelling and grammar, but don’t expect them to understand the intricacies of a screenplay.

Everyone has an opinion. Not everyone has a clue.

Ready To Sell Your Script? Here Are The Signs

1. Your mom/partner/best friend loves it

   Non-professional readers will read a script like a novel, without understanding the nature of drama and tension. Their feedback is hardly vital.
   There is a good reason to have your fans at home read your work, though: to keep your confidence up. They should support you, and encourage you to rock on when times are tough.

2. Your gut tells you it’s ready to sell
   

   It may be more reliable than your mom, but it’s surely not the #1 indicator to go by. Your gut instinct will give you a clue as to whether you have a gem or a dud. But don’t bet the house on it. Your intuition will get better over the years.

3. Your friend/manager/agent/producer is excited
   

   No industry friends (yet)? Get networking! If you’re lucky enough to work with a manager, it’s easy. They will give you useful feedback, and tell you when they are confident the script will generate results.

4. It’s a really fast read.
   

   The quickest reads are typically the best. I have found that really bad scripts can take up to a day to read, partially because it takes time to decipher, but also because of reader procrastination.

5. Feedback is about taste, not technique.

   If most of the feedback comes down to a matter of the reader’s taste rather than specific craft-based notes, it doesn’t necessarily mean they’re being unprofessional. Everyone has a subjective opinion, even pros. And everyone will try to give you some advice, even if they’ve run out of objective notes. Could this mean it is time to sell, and send your script into the world? Possibly…

6. You are shortlisted in a big screenwriting contest

   There are many contests, and thousands of writers enter every year. Fortunately you don’t need to worry about most of them, as only a few are truly relevant.
   The best will introduce winners to agents and producers, and some real players do keep an eye on the award lists.  So, winning an important contest is a big deal. Keep entering every year, and make sure your results keep improving.

7. Everyone talks about it.

   You are very lucky when you find people become aware about your script, and talk about it. When I hear industry folk bring up my clients’ projects in conversation, it’s mostly a good sign.

There are probably tons of things about your script you can still improve. If you didn’t read any screenwriting books until this point – Good! You didn’t need them – this may be the time to check a few things that matter to readers. Look at the ebb and flow of your tension in the story. Weigh up the balance of description vs. dialogue. Check, double-check and triple-check grammar, spelling and punctuation.

These are the areas most beginning writers can improve the most without professional help. Use apps, take online  classes. Become the very best.

You Make The Call

When you feel that the law of diminishing returns is taking its toll, it may be time to consider the 7 points above. And remember: you will never get unequivocal proof that your script is market-ready… until it is sold.

Until then, it’s merely a decision.

And that decision is yours.

-Karel Segers

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

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With thanks to Cameron Pattison.

Jamie Campbell

Jamie Campbell is an author, screenwriter, and television addict.

Jamie is proud to be an Editor for The Story Department.

Her latest series Project Integrate is out now.

jamiecampbell.com.au

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Jamie Campbell

Jamie Campbell is an author, screenwriter, and television addict.

Jamie is proud to be an Editor for The Story Department.

Her latest series Project Integrate is out now.

jamiecampbell.com.au

by Joey Tuccio

Paralyzed by the thought that they actually have to talk about their script with a live person. I think some writers get a little too comfortable in their solitude of writing. It really is a shame that so many writers spend so much time writing their script but are too afraid to praise it and pitch it to people. Here is some friendly advice to help you conquer your fears of pitching, or simply to make your pitch even better!

1) Start with the logline AND genre of your story. Why genre? A brilliant producer once told me that if a writer doesn’t start with their genre, it will be unclear how they should interpret it. If a writer is pitching a story that sounds slightly funny, a producer might feel too awkward to laugh because it could very well be a drama. Alleviate the stress and say it up front.

Also, think of ONE movie out there that resembles yours. This could really help an executive visualize your story immediately and have a better sense of it. DON’T START a pitch with So, what are you guys looking for? What would you like me to pitch? I have this, this and this. Be confident in your pitch. You have their attention right off the top, so the quicker you can get into the pitch, the better. If time allows, you can quickly say at the end “Oh, by the way. I have a comedy too about (logline)…”.

A lot of writers do not know how to pitch.

2) Pitches should be 2-3 minutes MAX. Have you ever had a friend that just goes on and on about a story and half way through all you can think about is What are they talking about? I wonder what I’m going to eat later? Wow, he got so fat. Don’t let their minds drift. Usually
around the 3 minute point is when a mind might start wandering.

3) BE a story teller. Casey Wilson and June Diane Raphael (writers of Bride Wars) would literally write out their routine before pitching their script. BE an actor. Sounds scary right? It’s not. Just have fun when you tell it. Even if it’s a drama. GET INTO IT. That doesn’t mean fall on the floor bawling when the love interest dies (though they would certainly remember that), but it means take your appropriate pauses (or “beats”) to help build emotion. Rehearse, rehearse, rehearse. You spent years writing a script, so you can spend a few weeks rehearsing your pitch. Do some mock pitches with a friend.

4) Don’t forget to talk about yourself too! Did your script place in a contest? In our most recent pitch session, APA agreed to read a script because one of our writers was a finalist in a big contest. Have you ever produced anything before? Has anything you ever done been made? Don’t feel ashamed or depressed to say “no”. But try to think of one or two things that can be interpreted as an accolade.

You spent years writing a script, so you can spend a few weeks rehearsing your pitch.

5) Just for virtual pitch sessions, consider your background. One writer, who had an awesome script, decided to pitch with a weird sculpture behind them. Guess what the executive was more interested in looking at during their pitch?

6) Last but not least, PLEASE don’t be discouraged if a pitch session is unsuccessful to you. There are so many factors and, you know what, they will remember you and maybe down the road when their company is looking for a particular kind of script they will reach out to you.

Just know that their are a TON of companies out there and if one says no, or if ten say no, or if a hundred say no… there are still a bunch of places to go to. Go over your pitch. Maybe something isn’t working with the actual pitch. Is it clear enough? Is it concise enough? Get
advice!

Go out there and pitch your script!! You’re going to have to one day, so you might as well do it now and get over the fear. One could only avoid pitching for so long. Good luck!!

-Joey Tuccio

Joey Tuccio is the founder of The Happy Writers and has covered scripts and books for Seed Productions – (Hugh Jackman’s production company), Smoke House (George Clooney’s), Night and Day Pictures, Gilbert Films, Future FIlms and Bold Films. At Bold Films, Joey worked closely with the VP of Development to discover commerical and unique projects. While serving as the executive assistant to the co-president, Bold Films produced Drive with Ryan Gosling, Carey Mulligan and Christina Hendricks.

Photo Credits: Stock XChng, Joey Tuccio.

Jamie Campbell

Jamie Campbell is an author, screenwriter, and television addict.

Jamie is proud to be an Editor for The Story Department.

Her latest series Project Integrate is out now.

jamiecampbell.com.au