Recently, I received a message on social media from a literary manager in Hollywood. Although she isn’t taking on new screenwriters, she has already been a tremendous asset to me. This is why all writers need a presence on social media, it is a great way to network with others in the industry.
I’ve spent most of the last couple of years trying to nail down an agent for all of my writing projects from screenplays to books. I kind of wanted a one-size-fits-all agent. I didn’t want to have to chase down a half-dozen different people to discuss my writing.
And this is where the literary manager helped me the most; she informed me that most agents don’t represent both screenwriters and nonfiction writers, thus validating my biggest fear—I needed more help than I thought to get my writing sold and published.
The idea that a writing career is a solitary journey is a romanticized myth. In the screenwriting field, there are four necessary players to getting a writer’s work onto the screen.
- The writer: the creative force behind an idea forges it into a story.
- A manager: managers are accessible and knowledgeable coaches who mentor and guide writers in their craft.
- A literary agent: agents work as insiders with the connections to potentially interested parties.
- A literary attorney: a lawyer whom handles the legalities of literary sales.
Each of the above work together as a team to get a story sold and produced. More often than not a screenplay gets optioned rather than sold. Options are negotiated routinely in Hollywood.
The Option?
An option (not to be confused with an option clause for a multi-book contract), is another term almost exclusively related to the film industry.
Most aspiring screenwriters (including myself) dream of breaking into the film industry with a blockbuster sell for their awesome writing. The sad truth is most screenwriters are offered an option.
An option is a purchase and option agreement where the buyer simply doesn’t want to put a lot of money into the script immediately, so they option the rights for a short period of time (six months to a year) for a “down payment.” During that time the buyer will use the script to attract talent or raise money to make the film.
At the end of the option period, the buyer will either pay the purchase price or pass. If passed, the writer keeps any money already paid and the rights of the script revert to the writer.
Since an option is not a final purchase, scripts tend to change hands frequently before ever being produced. Numerous factors influence a scripts purchase, in addition to the market’s fickleness, studios contract crew and available talent.
With these hurdles, it’s a wonder any films ever make it to the screen. Over the years many movies have narrowly made it through developmental hell even after being optioned. For example:
A movie’s production is rarely the result of a talented lone wolf writer. But paired with a producer, studio and creative team; that’s hopefully when our characters come to life on the screen—all options are fulfilled through teamwork.
Teamwork?
Before you know your options, it is wise for writers to put their teams together because writers need all the support they can get. So how do you put a team together? I’m glad you asked.
Getting an agent or manager can be difficult but is not impossible. In today’s tech-savvy society there are quite a few ways to market your writing to the right people or find them. Below are a few ways most screenwriters market their projects and search for literary representatives.
- Entertainment magazines (Hollywood Reporter, Variety Magazine, Script Magazine).
- Online screenwriting sites (Film Freeway, Studio Binder and The Blacklist).
- Film festivals (Atlanta film Festival, Austin Film Festival, Ann Arbor Film Festival, Sundance Film Festival).
- Screenwriting contests (Nicole fellowships competition, Final Draft competition, Screencraft competition).
I’ve always been taught as a writer the best way to get your work out is to be the best writer you can be, let your writing speak for itself and studios will fight to hire you and you will have plenty of options.
Martin Johnson survived a severe car accident with a (T.B.I.) Traumatic brain injury which left him legally blind and partially paralyzed on the left side. He is an award-winning Christian screenwriter who has recently finished his first Christian nonfiction book. Martin has spent the last nine years volunteering as an ambassador and promoter for Promise Keepers ministries. While speaking to local men’s ministries he shares his testimony. He explains The Jesus Paradigm and how following Jesus changes what matters most in our lives. Martin lives in a Georgia and connects with readers at Spiritual Perspectives of Da Single Guy and on Twitter at mtjohnson51.
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