Kirkpatrick - Writing for the green light: how to make your script the one hollywood notices
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- Book:Writing for the green light: how to make your script the one hollywood notices
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Tailor your screenplay to sell. Find out what Hollywood script readers, producers, and studio executives want in a screenplay (and why) from someone whos been there. Discover what it takes to begin a lasting career as a screenwriter.
Peppered with interviews from established professionals, Writing for the Green Light: How to Make Your Script the One Hollywood Notices gives you a sharp competitive edge by showcasing dozens of everyday events that go on at the studios but are rarely if ever discussed in most screenwriting books. With his behind-the-scenes perspective, Scott Kirkpatrick shows you why the system works the way it does and how you can use its unwritten rules to your advantage. He answers such questions as:
- Who actually reads your script?
- How do you pique the interest of studios and decision-makers?
- What do agents, producers, and production companies need in a script?
- How much is a script worth?
- What are the best genres for new writers and why?
- What are real steps you can take to break in to television writing?
- How do you best present or pitch a project without looking desperate?
- How do you negotiate a contract without an agent?
- How do you exude confidence and seal your first deal?
These and other insights are sure to give you and your screenplay a leg-up for success in this competitive landscape!
Scott Kirkpatrick is the 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.
First published 2015
by Focal Press
70 Blanchard Road, Suite 402, Burlington, MA 01803
and by Focal Press
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
Focal Press is an imprint of the Taylor & Francis Group, an informa business
2015 Scott Kirkpatrick
The right of Scott Kirkpatrick to be identified as author of this work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.
Notices
Knowledge and best practice in this field are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary.
Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility.
Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe.
Library of Congress Cataloging-in-Publication Data
A catalog record for this book has been requested.
ISBN: 978-1-138-85645-5 (hbk)
ISBN: 978-1-138-01646-0 (pbk)
ISBN: 978-1-315-78100-6 (ebk)
Typeset in Palatino LT Std
By Apex CoVantage, LLC
For my wife, Soha
What agents, producers, and development executives at production companies need in a script to make it worth spending money on.
Which genres get produced, which genres dont, and why. Plus, the six best genres for first-time spec scripts.
How to transform an idea into a market-ready spec script while including all the points it needs to get past the readers desk.
Understanding how to wedge yourself inside Hollywoods TV landscape by building a valuable portfolio of sample TV spec scripts and learning televisions real entry points for success.
Who you need to know and how to contact them; plus, how to fake confidence so you can pitch your script (and yourself) in the way Hollywood needs to hear.
Living the life of a professional Hollywood writer: Protecting your ideas, negotiating your own contracts, and managing your reputation.
Understanding where Hollywood is going and how to get ahead of the curve by following the principles of the movie business instead of chasing trends.
I cannot offer enough thanks to my wife, Soha, for all the support and encouragement shes provided in pushing me forward through each step of this journey. Not only is she my best friend, shes my most trusted professional colleague and confidant (who Im eternally grateful to have in my life).
To my editors, Dennis McGonagle and Peter Linsley (and to everyone at Focal Press and Taylor & Francis)thank you for all of your guidance. You have been nothing short of accommodating; I hope this is the first of many!
And a big thanks to all of those who contributed not just directly to this book, but also to many of the professional experiences that led to its creation: Akim Anastopoulo, Nathan Atkins and Amanda Phillips Atkins, Erik Bork, Jason Brubaker, Chad Gervich, Ken Lee at Michael Wiese Productions, everyone at MarVista Entertainment, Donie Nelson, Michael Prince, my mentor Paul Rich, Reem Saleh, and to my parents Joyce and Ralph Kirkpatrick and my sister Jenny for all the years you put up with my endlessand at times obnoxiousobsession with the movies.
If youre reading this book, Im assuming you (or someone close to you) want to be a professional Hollywood screenwriter. Maybe people have told you youre crazy for choosing such a path, but it makes perfect sense to me. Hollywood is a billion-dollar per year industry and someone has to write all those scriptsmaybe youve already taken a crack at writing a spec script or two and youre just curious about next steps.
But lets get realistic for a moment: being a great storyteller, rattling off a few ideas to some friends, or even writing a feature-length screenplay cost you nothing but time . Yet, for the studio or production company youre hoping will acquire and adapt your script into a full-on movie, this process costs a ton of money. Unless you intend on producing a film based upon your own script (and funding it out of your own pocket), youre going to need some solid advice on how to get your screenplay in front of the right people and learn how to talk about it with those who have an entirely different motivation than you for telling stories and producing movies: to make money distributing the finished version of the movie youve written.
The first thing you need to know about me is that I am not a screenwriter. The second is that my job is one of the most important during the lifespan of any movieonly youll never see my name listed in the credits or on the posters of any of the films with which Im associated.
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