Three Reasons to Be Your Own Screenwriting Agent

The ongoing myth that you ‘need an Agent’ to get your screenplay seen by Hollywood’s gatekeepers continues to hold back countless writers from gaining real traction with their careers.

Does this mean a screenwriting agent serves no purpose?  Or that you won’t someday work with one?  Or that agents are only out to screw you over?  Of course not!

screenwriting agent

Three Reasons to Be Your Own Screenwriting Agent

Agents are extremely valuable figures in the Hollywood landscape. But signing with one fresh out of the gate, before you secured your first solo screenwriting deal, might actually do more harm than good.

1. Screenwriting Agents Are In Business for Themselves, NOT You!

Agents make money by brokering deals, not by finding new writers and promoting their scripts. Just because an Agent signs your script (or you as a writer) doesn’t mean they have any obligation whatsoever to broker a deal on your behalf.

Most screenwriting agents are not looking for talented writers. They are looking to keep talented writers from slipping through their fingers and getting gobbled up by their competitors! Additionally, they want to keep an overabundance of available ‘properties’ (scripts) to meet requests from Production Companies.

This means a typical screenwriting agent will take on more scripts and writers than they know they can adequately broker deals for. Obviously this is good for a screenwriting agent. But it is bad for you.

Don’t get me wrong. There are certainly stellar agents out there. A good screenwriting agent will work with you—for a period of time—to get your portfolio into strong shape. But if your work doesn’t sell soon after, all the attention and accommodation will fade away and get focused elsewhere, even though your contract still has several more years prior to expiration.

2. Everything a Screenwriting Agent Can Do, YOU Can Do Better!

But don’t you need an Agent in order to sell that first script or commission your writing talents?

Nope!  In fact, I would argue that when starting out, it’s much easier for you to get your work in front of Hollywood decision makers and close a deal without a screenwriting agent. And while agents do negotiate deal terms for agreements between writers and production companies, there’s no reason you cannot bypass this process and simply negotiate on your own behalf.

Negotiating a deal is really about finding common ground.  If you’ve presented your scripts (or your ability to write) to a Production Company and they want to work with you on an upcoming project, then there’s plenty of common ground for the two of you to build a deal from.

That Production Company will send you an offer. You agree to the points you like and ask questions or draw attention to the points you don’t like.  And if you’re confused about terminology or meaning, you can always consult my favorite reference: Google.

If you’re really uneasy about negotiating a contract on your own behalf, remember that you can always commission the one-time services of an entertainment attorney. Yes, you will have to pay them, but you’d have to pay your agent regardless.  And a Lawyer will be much more accommodating to your direct needs since you’re the one hiring them.

This means you’re the one dictating the rules. Once the current deal is fully negotiated, your obligation to the Lawyer would be over. With an agent, the term can go on for several more years.

3. Agents Won’t Help You Hustle Your Work

One other major misconception newbie writers have about agents is that the moment they sign on the dotted line, that this ‘suit’ will somehow take over all the hard work and be out their pitching and promoting their work… But this is yet another myth!

Whether you have an agent or not, you will have to be the one out pitching your work, making blind phone calls to get production companies to take notice, in a constant hustle for an opportunity. However, once you’ve got a solid lead and someone likes your script, rather than following up all on your own (which makes the most sense), you now have to introduce whomever you’ve been dealing with to your agent—and once that intro takes place, you have little control over how your agent will handle it.

Since agents are out for themselves, that balance of ‘common ground’ outlined in point 2 gets shifted. Now the deal is no longer just about the production company and the writer. It’s also now the agent wedging themselves in for a 10% cut.

I’ve seen positive conversations between writers and producers turn sour (and good writers lose jobs) from the overly aggressive tactics of eager-beaver agents. Again, having a screenwriting agent can be a great thing, but tread carefully when choosing. Don’t sign with one prematurely.

As I explain in my book, Writing for the Green Light, you cannot view an agent as some sort of “career messiah” who will make all your dreams come to life after entering a deal with them. You must only think of a screenwriting agent as someone who assists you in managing your workload. An agent is not the gatekeeper to your screenwriting success.

Quit Waiting for the Phone to Ring!

Once you’re out securing your own jobs, building a stellar reputation as a writer who can deliver, agents will be coming to you.. But until then, you will have to be the one creating your own opportunities for work. No one will do that for you. Signing with an agent will not put you ahead or increase your odds of getting screenwriting work.

So when is a good time to get an Agent?  Later in your career. After you’ve closed a few deals on your own, either by selling your own scripts or successfully commissioning your writing talents.

A good rule of thumb would be to seek out an agent only when the time you spend negotiating your new writing gigs starts to interfere with your ability to meet current professional writing deadlines.

–  –  –

Scott Kirkpatrick is the author of Writing for the Green Light: How to Make Your Script the One Hollywood Notices and is the Executive Director of Distribution for MarVista Entertainment, a Los Angeles based production and distribution company that produces original Lifetime and SyFy channel films, co-produces TV movies with Disney and Nickelodeon, and has managed international TV deals on major franchises including Mighty Morphin Power Rangers, Digimon, and Julius Jr. Scott has also produced and directed TV series and feature films including Eye for an Eye, Muslims in America, and Roadside Massacre.

Script Breakdown and Film Scheduling

Script breakdown and film scheduling is essential for any serious filmmaker.

Let me share the following, fictional yet typical filmmaking email.

(I get these types of questions every couple weeks.)

Hi Jason –

I wrote this really awesome movie about space travel, time travel, the end of the world and I’m really looking to get it produced. The problem is, I don’t know how much it will cost. Can you tell me how much it will cost me to produce? Thanks!

To some, this type of email might seem a little silly.

script breakdown

I mean, how the heck can anybody take a movie concept out of thin air and decide how much the movie would cost to produce?

Truth be told, there are many factors to consider.

You have to find out if the filmmaker is planning to utilize CG or actual, physical sets. Will the filmmaker cast his next door neighbor or Will Smith? Will this movie be shot on film? On HD Video? Or some crazy mix of 3D?

And those questions only begin to scratch the surface. You still need to think about payroll services, production tax incentives, worker’s compensation… It’s enough to make your head explode. And all of these variables – every single one – influences the budget of any movie.

So these questions, plus about a gazillion other questions need to be answered before you can even think about creating a budget, writing a business plan or seeking investors to get the money. And the bigger question is this:

How do YOU decide how much your movie will cost to produce.

The starting point is taking time to complete your script breakdown and schedule your film.

Script Breakdown and Film Scheduling

Don’t get overwhelmed. You can do it.

And let us be totally frank for a moment…

As a filmmaker, there will come a time in your life when making a feature film becomes a driving, burning desire!

Making your first feature is the rite of passage into the world of professional filmmaking.

Assuming you’ve become comfortable making short movies, then making your first feature will be just another step in an exciting career.

I am  assuming you’ve written, or you control the rights to a fantastic script that you would like to produce. So you next need to figure out just how much your movie will cost.

Script Breakdown

Your script breakdown begins with having a screenplay you are happy with.

Once the script is locked, any modification you make to the story or schedule, no matter how minor or major, will subsequently impact the budget.

My producer friend Forrest Murray always says the script, schedule and budget are the same document. You’ll need all three to make a movie… But in the process, if you change one document, you’re actually changing all three.

This is why your script breakdown is essential. Without it, you will have no idea what your movie will cost.

Action Steps: Script Breakdown and Film Scheduling

I wanted to share a few tips on how to complete your movie script breakdown. Performing this task and then completing a film production schedule is necessary before you determine your budget.

Here are some some steps to help you break down your script.

1. Number Each Scene

Once you lock your screenplay, you should then go through the script and number each scene. You do this by placing a number next to each slug line. What is a slug line? It’s the little line that explains where each scene takes place.

It looks like this in the script:


Once you number each scene, you will want to actually measure the scene. Since screenplays are usually printed on paper eight inches tall, every scene is measured in 8th’s of the page.

You will go through each scene and measure the length.

The reason for this measurement has to do with the length of your movie.

For example, if we assume that each page written in proper screenplay format – Then we can also assume that each page equals at least one minute in screen time.

So if we come upon this scene:


And let’s say this Diner scene measures 4/8th (or half the page) then you can guesstimate that the scene will be roughly 30 seconds long in screen time.

2. Highlight Each Element

In addition to knowing final screen time, this information will help you determine how long it will take to actually shoot the scene (and also which cast, crew, props and equipment is needed to shoot the scene), which will influence your schedule.

…And your schedule influences your budget. Again, your script, schedule and budget are related!

Speaking of elements, you will want to go through the script and highlight each element, for each scene. Some common elements include locations, characters, props, make up, wardrobe, picture vehicles and special FX…

All of these elements cost money.

You’re “breaking the elements out” so you can eventually put the elements in your budget.

3. Determine Shooting Schedule

Once complete, you will want to figure out when you want to shoot your movie and how long you plan to shoot. You can determine this by choosing how many pages you want to shoot per day. For example, you may decide to shoot 5 days on and 2 days off, or 6 days on and 1 day off. Or maybe you want to shoot your movie over a few weekends.

Keep in mind that unions have rules on how you schedule your movie.

In addition to time constraints, you will want to consider momentum. Filming your indie film over a series of weekends may seem convenient. But doing so can actually diminish the creative flow and can make it tough on cast and crew holding jobs outside of the production. Sometimes it makes sense to just marathon your movie schedule.

Get your movie done so you can get it to market as soon as possible.

Many motion picture professionals make a living just breaking down, scheduling and budgeting movies.

This should tell you it’s a pretty complicated and creative area.

As a first time feature filmmaker, it would be great to partner with an seasoned 1st AD or Line Producer who could guide you through the process. But because a lot of filmmakers do not have money until they actually raise the money, hiring a UPM or 1st AD is out of the question.

So this leaves only one alternative. You must complete your own script breakdown and film scheduling. In my opinion, there are two components to this process. You will need a script breakdown education as well as script breakdown software.

Luckily there are quite a few resources to help you.

And in full disclosure: I believe in the efficacy of the resources I’m about to share. But I do have affiliate agreements with both providers. This means they pay me to promote.  So make sure you conduct your own due-diligence prior to making any purchases, both here and everywhere on earth.

Script BreakdownScript Breakdown and Film Scheduling Online Course for Indie Filmmakers:

This online course offered by Industry veteran Peter Marshall answers the ever important question.

“How do I know if this shooting schedule is realistic?”

A lot of new filmmakers go into production on a film and find out a few days into production that their production schedule was completely screwed up. In some cases, these unfortunate filmmakers find out that the schedule was totally unrealistic.

As a result, the cast and crew ended up with tons of overtime pay, a bad attitude and YOU ended up running out of time and budget.

The goal is to avoid these headaches.

Peter worked for over 25 years in the industry.  He know (better than most) that a properly designed shooting schedule is crucial for your budgeting process.

If you would like to find out more about Peter Marshall’s Script Breakdown and Film Scheduling course, click here.

Film Scheduling Software: LightSpeed eps.

One of the most exciting software programs to help you with your script breakdown is called LightSPEED eps.

In addition to being an awesome script breakdown and scheduling program, LightSPEED eps allows you to centralize your production information and provide secure access from your computer, wireless device, from anywhere in the world.

Watch this brief script breakdown video:

With this web-based production management software, you can provide your your production team with current information from anywhere in the world.

In practical terms, let’s say you are based in LA, but your First AD is based in NYC. You will now have the ability to oversee all aspects of your project. If something changes, you will be able to notify your staff of critical updates in real time!

After getting a face-to-face demo with the management team, I left the meeting convinced that LightSPEED represents the future of script breakdown and production management.

Because these guys are very indie filmmaker friendly, they have provided Filmmaking Stuff readers with a FREE trial for one user. If you would like to find out more about the LightSpeed EPS script breakdown and film scheduling software, click here.

Three Tips On How To Target Your Target Audience

Having spent time at the major film festivals, I can tell you that having an audience (also known as a large email subscriber list) is currency. It gives you power. But before you get into the mechanics of growing your audience – You need to first figure out how to find your target audience.

In fact, you need to target your target audience even before you write your screenplay.

If thinking about your target audience is a new concept, you’re not alone. Most filmmakers fail to consider their target audience. Or worse, many filmmakers will tell you that everyone is their audience.

This means men, women, teens, tweens, children, puppies and space aliens could all benefit from your movie.

This is a mistake. It’s a left-over concept from the indie era of 1995. Back then, you only had one goal with your movie. Get into the festivals, fill up your screening and hope the some distributor shows up and writes a check.

Many filmmakers still believe this. But these filmmakers are wrong.

Think about it.

Think about the last time you went to a film festival. What did you see? Was it a bunch of acquisitions professionals handing out business cards like candy? Or did you happen to see other filmmakers handing you postcards, asking:

“Will you come to my screening?”

If you want to figure out how to find your target audience, here’s a solid piece of advice:

Other filmmakers are not your target audience!

But don’t worry. Because I’ve worked on the inside of film distribution for several years, I am going to help you avoid the mistakes 99% of other filmmakers make. I am going to provide you with three simple steps on how to find your target audience.

And these simple steps will put you years ahead of other filmmakers who are living off the hope and pray film distribution strategy of the bygone era. Are you ready to rock?

Find Your Target Audience

Find Your Target Audience

Here is the thing. There are ton of filmmakers that consistently muck up their film release strategy. As I mentioned earlier, the reason most films fail is because the filmmaker never took time to really write out a release plan.

The process of finding your audience starts with refining your movie concept.

Step 1: Refine Your Movie Concept: For this example, let’s pretend your lead character is a boxer living in an improvised community. And then let’s pretend that your boxer ends up with ONE big opportunity to take a shot.

A. From this, we know your movie is geared towards: Boxing.

B. We can also think about related interests: weightlifting, fitness gear, diary supplements, et al.

Step 2 – Conduct a Google Search: Your next step is to locate blogs, websites and publications already targeting people who may be interested in your subject matter. In this example, you can quickly Google “boxing.”

When you do this, “boxing” will get over forty-nine million results. This is not surprising. Interests such as boxing, horror movies, martial arts and race car driving have prominence in our culture.

Step 3 – Build a List: Add the top 50 targeted publications (both online and offline) to a spreadsheet. Then reach out to each publication and request their demographic statistics. These stats will tell you how many people subscribe to the publication and will often provide details on age and gender. (You will use this info later, when you go to sell your movie.)

You can apply these three steps whenever you want to find your target audience. And once you have a good understanding of your target audience, all future advertising, marketing language and your trailer should be created with your target audience in mind.

Then later, when your movie enters the marketplace, this research will provide you a contact list full of organizations that may help you promote your movie. And if you would like more information on how to market and sell your movie, come to my next webinar:

Making A Short Film: 5 Tips For New Filmmakers

Making a short film is the rite of passage for many new filmmakers. If you have never made a short film, now is the time.


Not only are there a gazillion film festivals that offer a short movie program, but with websites like YouTube, you have the ability to reach a global audience.

Making A Short Film

This is better than the old days. Back then, making a short film meant that your work would get projected in theaters before the feature presentation.

But that trend ended. The short film was replaced by trailers and advertisements.

In the decades that followed, there wasn’t much of a market for short films. It was almost impossible to make money with a short film. As a result, finding investors to back a short was super challenging.

While I can’t say that the economics of short movie making has improved dramatically, the emergence of crowdfunding, festivals and internet based video platforms offers hope.

But regardless, you’re a filmmaker. And making a short film is a great training ground for getting your feature made, seen and sold.

Making A Short Film

Here is a quick video outlining my tips for making a short film:

Many people in Hollywood bounce around for years pretending to do work, when all they are really doing is pretending. Many of these people call themselves producers, yet they have no screen credits and have frankly failed to do anything!

Don’t do that.

If you haven’t yet made a short, my suggestion is to get started!

For your first few movies, don’t spent time worrying about lighting or special effects. Just learn how to utilize your limited resources and make something cool out of nothing.

Making A Short Film: Gear

For around two-thousand dollars, you can buy a camera that produces cinematic results. And if you can’t afford to grab a professional camera, then just utilize any camera you can get your hands on.

(Yes, this includes camera phones.)

Again, making something is better than making nothing.

In the event you cannot yet afford your own equipment, then find someone who already has gear and make friends.

Short Film Ideas

You next step is to get an idea for a short.

I suggest you focus on a story you can tell in three minutes or less.

When I was managing a film program, I noticed a lot of first-time filmmakers created dramatic stories that focused on suicide or some guy staring into a mirror and talking, or some chick shaving her head while reminiscing about apples and spiders.

These movies sucked, but they were good practice.

Your initial movies will probably suck too.

Don’t worry about it.

Give yourself permission to suck. Here is an example of a bad short film:

Yeah. It is MY second short film and I don’t know what I was thinking.

But it was good practice. I learned a lot.

Keep in mind, I included this short film example this to provide encouragement. Odds are good you can do better than this poo. I challenge you to get started and do something better!

Just remember, the more you practice, the better you get.

And if you’re making a short film, but find yourself really low on short film ideas, then the next best thing is to create a music video… Which is essentially a short movie too.

The other things you can do is watch other short films. A while back, I stopped by the Haig Manoogian Screenings of the best short films.

The films represented the best of the best of the NYU film school and were presented by former NYU alumni Eli Roth.

101shortfilm125x125Shot in film (not HDSLR video), all of the movies looked expensive and awesome. But at the same time, guess what?

…Every film was serious and dramatic.

By now, I think this is the reality of making a short film – It seems like most student filmmakers create serious and dramatic movies.

I don’t know why this happens.

So in response to a short film festival market saturated with drama, my ongoing to suggestion for making a short film is this:

“When making a short film, DO NOT do drama!”

Okay… If you think you have something dramatic you just HAVE to share, by all means, make your movie!

Case in point, I thought the best movie of the night was Little Horses.

Skillfully directed by Levi Abrino, this movie has a ton of heart. Here is an excerpt:

While my review of Levi’s short film is slightly biased (I have been a fan of Levi’s work for years), the laughter of the audience was evidence that Levi’s movie offered a nice break from all the drama.

So anyway… Go Levi!

Keep in mind that your short film will probably end up on YouTube.

So if you can be funny and get Internet viewers to share your movie with other people who will then share your movie with other people, you will have achieved a great thing.

In addition to all the points mentioned thus far – Your audience is your business. Growing your own audience is up to you. And the process starts with making a short film, getting your movie online and exposing your work to the world.

Making A Short Film: 5 Tips For New Filmmakers

After making a few short films, you may find yourself getting bored. This is actually a good sign, because it shows you’re growing. When this happens, begin to come up with more complex short film ideas and then write a well crafted screenplay.

  1. In the event you have not yet made a short movie, write one or two page scripts and then produce your story on a borrowed camcorder.
  2. Edit the footage on a friend’s computer.
  3. Upload the footage to video sites like YouTube. Test audience reaction. Is it good or bad? Learn from it. Then make another video… Then another… Then another.
  4. Once you feel confident with short storytelling, move on to bigger and bigger projects.
  5. Keep pushing yourself. Keep refining and learning!

The short movie marathon exercise described above will provide you with a fundamental understanding of how to shoot scenes for minimal cost and still make them interesting.

Making a short film will help you save time and money when you create your feature, while providing you with endurance, experience and the confidence to make movies with greater efficiency.

When you upload your work for the world to watch, audience feedback will reveal areas needing improvement. Even though you’re working with non-professional equipment and talent, if you can learn to make great movies with a small camera, you can make them with a big camera.

Theoretically, if you make one or two three-minute movies like this every weekend for six months, you will have the equivalent experience of making a feature.

Then later, when the feature filmmaker in you is ready, the feature will reveal itself.

101 Short Film Ideas To Get You In The Action

Sometimes making a short film and coming up with short film ideas can be a pain in the butt. So I put together an action guide specifically designed to help you find short film ideas.

101 short film ideasTitled 101 Short Film Ideas. In addition to providing short movie ideas, this action guide also contains some extra bonuses!

The system is designed to help you overcome any creative blocks.

In addition to having an action guide that contains 101 short film ideas, As part of this system, you will also get my ten step audio program for making a short film

This is mp3 audio that you can put on your iPod or mp3 player and listen to it anywhere. If you are looking for short film ideas, check it out here.

Screenwriting: 5 Tips For New Screenwriters

Screenwriting is a tricky art. Long before I started producing my own movies, I worked for a development company. Part of my job was reading screenplays.

screenplay writing

Jason Brubaker Writes

At first, I thought reading screenplays was an AWESOME job.

I have to admit. I felt pretty cool leaving the NYC office each night with three to five screenplays in my bag. On the subway, I would pull out a screenplay and start reading.

My goal was to find material that would eventually become the next Sundance award winner. I lived to find something awesome. Something that would garner me a promotion and clout with the producer. Something great!

But what I read was terribly disheartening.

I read hundreds of screenplays. Some were from new screenwriters. Some were from veteran screenwriters. Some were from screenwriters who (I could only imagine) didn’t know English.

And without fail, what I found was a bunch of discombobulated stories with weak plots and unrefined characters.

I felt sick.

Most of submitted screenwriting was garbage.

(I really wish I was kidding here.)

I’m not trying to sound all high and mighty either.

I tried. I really did!

At first, I read EVERY screenplay, cover to cover. I wanted to give the writer the benefit. They worked hard. So I kept reading. I was convinced that the bad story I presently read would improve. I just needed to keep going. . . I just needed to keep reading.

But I was wrong…

The stories never improved.

After some weeks of reading CRAP screenplays, I just couldn’t do it anymore.

I started slacking. And worse, I really didn’t care.

If the screenplay didn’t grab me in the first 10 to 15 pages, I quickly thumbed through the rest of the script.

After that, my next task was to complete coverage reports for the producer. The goal of a coverage report is to either recommend or pass on the screenplay. Most of the screenplay coverage reports I wrote ended up being some variation on the following:

This writer shows some promise. But this screenplay lacks the necessary plot and character arc to grab interest. The characters all sound similar. Additionally, this story requires expensive sets, locations, seasonal conditions, animals and children. As a consequence, this screenplay necessitates a complete rewrite in order to proceed. My recommendation is to PASS at this time.

I don’t know if this sounds harsh or not. But it is a screenwriting reality.

Most producers will never read any unknown screenplay. Instead, most producers will have an assistant to do the horrible job of reading awful screenplays from terrible screenwriters.

The assistant protects the producer from reading crap screenplays.

And speaking as a former assistant, I can honestly say that many screenwriters should avoid submitting unrefined work in the first place.

But this rarely happens.

Screenwriting Is The Heavy Lifting

All of this being said, you know that great screenwriting is essential for a great movie.

There is no way around this. It is the law of narrative filmmaking.

Your screenplay is the blueprint for your movie.

And if you are a talented up-and-coming filmmaker, you probably noticed this.

The truth is, many produced movies are far from great.

Have you ever asked this question?

…How did THAT movie ever get made?

Good screenwriting question.

Somehow bad screenplays STILL get made.

And  I think there is a reason crappy screenplays get made into crappy movies.

There really is no ONE answer.

And not to digress too far, but here is my theory on how mediocre writing becomes successful screenwriting:

Fact: Most screenplays are complete crap.

Opportunity: If your screenplay is even marginally better, It will SEEM like it’s TONS better than it actually is.

(Reread that again if you need to.)

So based on this premise, the unknown assistant RUNS to the producer to share his great fortune.

“I found screenwriting GOLD. Let’s make a movie!!!”

But the reality is, the screenplay is not gold.

The screenplay is good, but it is not great.

But compared to crap, it seems AWESOME.

This is because years of reading crappy screenplays have knocked the standards pretty low.

And regardless, the bottom line is this… You probably think you can do better.

The good news is, you’re probably right!

During my time reading screenplays, I was able to see first-hand how much garbage is floating around. If you have ANY talent as a writer, your material may get noticed.

This should be good news for the screenwriting profession!

Here is a quick video on screenwriting. It may help you:

Big obvious lesson here?

Write or acquire a GREAT screenplay!

Screenwriting for Filmmakers

I am assuming you want to actually write or acquire a screenplay so you can make your movie. So I am NOT going to provide too much advice on how to “sell” your screenplay.

That being said, whether you plan on producing your own material or selling it, there are still a few factors applicable to your end-goal. The first thing you have to do is get your hands on a great script. If you’re the writer-director type of filmmaker, then starting with a blank screen may feel intimating.

If this is difficult for you, you might consider finding a writing partner and then sharing a story credit.

Or you will just have to sit there until the ideas fill the screen.

To help you out, here is the down and dirty screenwriting lesson for today:

Screenwriting: 5 Tips For New Screenwriters

1.   Get some screenplay software. Final Draft and Movie Magic Screenwriter are the industry standard. Or you could do a Google search for “free screenwriting software.”

2.   Once you have the software, consider writing a feature script on the cheap. Think in terms of limited locations, with limited actors, with a short schedule that you can eventually shoot with limited equipment on HDSLR.

3.   Consider making your story edgy. Drama is hard to market. Horror and thriller and action is universal.

4.  The story should be fun with a STRONG, marketable CONCEPT. People should remember your idea.

5.   The name of the game is FUN. If you can’t have fun, you’re doing something wrong.

Putting the final polish on a screenplay is an amazing accomplishment. But just make sure you’ve created your best work. As they say, you only get one chance to make a good first impression – That same thinking applies to screenwriting.

screenwriting_guideYou only get one chance to grab the attention of a potential actor or department head who may or may not decide to help you with your project. You might get some benefit from this screenwriting resource (It’s my own) – The Indie Producer’s Guide To Writing Screenplays That Sell