New Writer Tips
This section is designed to help new
writers better understand the process and what to expect. If you are a seasoned
writer, feel free to skip this section (except the Lower Budget Projects section,
if it applies to your materials).
New Writer
Policy Change
Imajilan™ recognizes that good scripts can
come from virtually anywhere this day in age so we have now expanded our
creative material search system and policy to include those who are up and
coming but not yet fully established writers. Be sure to review this page
thoroughly to get a basic idea of what to expect and not expect from us should
you decide to submit your materials to us (upon our official request).
Lower Budget
Projects (Imajilan Indy™)
As a rule, new writer materials are
only considered for lower budget projects by us ( up to $8m). We tend to use
WGA member writers only for projects budgeted above this amount. The primary
reason for this is that we are unwilling to pay WGA minimums for
projects at these budget levels and we want to give new writers an opportunity
that they might not otherwise have (although we do pay higher than normal rates
to all of our writers (WGA or not). Most deals focus on paying the entire amount
for the script or story rights to the writer on the first day of shooting.
WGA writers may also submit lower
budget project materials, but they should be aware that they will not be
paid WGA minimums regarding options and may have to sign a waiver to that effect.
Successful
Inquiry Letter (Mail / E-Mail) Tips
Here are the following things we look at
in the order of importance. Be sure your inquiry is in the same order if you
want to ensure it is read by us. (See sample
inquiry letter)
-
List your major credentials in
the top sentence (if you need more space, refer to a section below to give
us more information but lead at the top with your strongest credentials).
-
Budget range (see note below)
-
Talent attachment (see note
below)
-
Genre (we need to know if you're
submitting an idea in the right genres so list it upfront and at the top)
-
Logline (make it one or two
sentences and make it pop--this is our first impression of your writing
ability).
-
Synopsis (mark a section with the
word "Synopsis" at the top of it and then begin your one page or less
summary).
Again, make it pop. We are looking not only at the storyline, but also at
your writing skill levels here. Typos and other mistakes turn us off so be
sure to proof read.
-
Contact information (including
alternative e-mail and phone).
Budget Note
If we have solicited in a advert or
website market place that focuses on lower budget film projects, it means we are
seeking lower budget scripts to fill out our low budget project roster. If your
script is lower budget capable, then you will want to note that aspect at the
top (item 2 above). Otherwise, ignore issues of budget, as we handle all size
projects.
Talent Note
If you have known talent (director,
actor) of any kind
that is willing to attach to your script, be sure to mention that to us
right away--that really gets our attention (item 3
above).
Successful
Script Submission Tips (Once We Ask For Your Materials)
If we accept your script and you are
asked to send it to us, be sure you are sending us your best effort. Make sure
the script is written using professional formatting and other standard industry
aspects. The very first thing our readers do is look at formatting and other
basic writing standards (i.e. grammar, spelling, acceptable shorthand wording, etc.)---if
these aspects are not
done professionally, the script is tossed into the trashcan and a "pass" and
"amateur" rating are assigned to your name (you will not be allowed to
submit to us again for three years, so do not waste our time or yours). Be slow to submit if you
need more time--we want good, not hurried writing.
If you do not have a copy
yet, we suggest adding THE HOLLYWOOD STANDARD: The Complete &
Authoritative Guide To Script Format And Style by Christopher Riley to your
library and using it to ensure you are getting things done reasonably well (this
is not the only formatting guide, but it is the best, in our opinion).
DO NOT send us scripts with
significant amounts of CAMERA DIRECTING. Use master scenes only and direct us
with clever writing. Our readers are turned off by those who direct in their
scripts (the old ways are no good these days).
Gain The New Writer Advantage
Additionally, those who have extensively studied screenplay writing and who have
taken workshops and seminars and who have written 6 or more scripts, as a rule,
put out much better work than those who have not. If you are not in this group,
we suggest you do not yet attempt to suggest your work to us---go write several
more scripts until you get a solid feel for it then go get third
party validation--find others in the industry who review materials and get their
opinions on your craft skills. Do your very best to ensure your work in up to industry par before
risking your reputation as being considered an amateur. Show you care about your
craft and your career enough to respect those you seek to do business with.
Script
Printing and Packaging
Please be sure to use a three-hole
punch and place two brads (top/bot) in your script and include a combination
title/flysheet (1 page) on the first page of your script. This allows the reader to
quickly take it apart for easy reading and note making. DO NOT BIND YOUR SCRIPT.
You may think it looks cool, but we hate it so why stack points against yourself
right off the bat? The two brad system is simple, easy, and serves a purpose.
Covers or back cards are not needed
or desirable so please omit them. We generally tear them off and discard them so
why not save yourself money.
Make sure you mention the genre on
the first page of your script (or handwrite it there). This helps the reader
understand what kind of material you are presenting--the more the reader gets
it, the better for you!
Other
Material Printing
For smaller items, such a treatments,
etc. under 20 pages, it is fine to merely staple them together in the top left
corner. Be sure to number the pages in case the staple gives way. Follow industry
guidelines for other materials, such as DVDs, etc.
What To
Expect
First and foremost, we do not charge
to review your materials, which is why we take great pains to ensure that those
who do send us materials are reasonably serious and qualified. We expend a great
deal of time reviewing materials for which we are not compensated, and for which we are
rarely rewarded. Virtually every script that comes through our doors needs more
work---the list of potential issues is long. Seasoned WGA writers are not exempt
from such aspects (although some think they are above it, sadly). Therefore,
be prepared to get some feedback from us (on rare occasion) and use it to
improve your work. We see hundreds of scripts per year, and very few
shine--take the time to make yours truly stand out and it will pay off.
What About
An Option Deal (lower budget projects)?
As a policy, Imajilan™ only options
projects it intends to produce itself. We are not a "paper producer"
that has become so prevalent in the industry (we do not option materials only to
sell to others).
If we accept a project and option it,
we will expend a great deal of time, money, and other resources to ensure it's
ultimate commercial success (note: we do not do film as art projects here - we
are a commercial, profit motive production house).
We believe that scripts that are merely optioned and
never
turned into films do their writers very little good--nobody sees their work and
their careers do not progress. Getting actual film credit is a major
break-through for most writers, but be prepared to make compromises if you want
help getting there.
What Category Is Your Script And
Writing Level?
Most scripts fall into one of three
categories: 1) unsuitable, 2) potential 3) commercial. There is a rare category
4) Oscar, but this is usually reserved for well seasoned writers (not always).
As a rule, this is not a smart category for new writers to focus on (because the
odds of hitting are astronomically low).
An "unsuitable" script is
one in which the writer's craft is not up to par. They are too amateurish in one
of several aspects of their writing (e.g. spelling, formatting, story,
character, dialogue, structure, etc.).
A "potential" script is one
that has some kind of flaw. The flaw may either be with the script or with the
production company internally, or both. For example, the script may have
most elements in place but needs some doctoring to put it over into the next
higher level. Or, the script may be good "as is" but the production
company cannot make it work for a multitude of reasons from casting, logistics,
costs, or what have you.
A "commercial" script is
one that the producer sees as a film and is willing to proceed toward that goal.
Of course, an Oscar script is one of
rare quality that allows for character study and development that "A"
level actors want to sink their teeth into. As a rule-of-thumb, Oscar movies are
not commercial successes but are critical acclaim success. The writer that can
do Oscar scripts will be well employed (but generally already were before their
script was written).
We get 89% of our scripts in category
#1. This means that writers themselves are the issue that is most in the way of
their own success. They are not taking the time to learn and perfect their craft
skills and test them on others before asking a production company to turn them
down. They are unprofessional in this respect because they wasted everybody's
time by letting their ego play their career choices instead of sound
thinking.
We get about 10% of our scripts in
the #2 category. Most WGA writer scripts that we "pass" on fit into
category #2, by the way. Many category #2 scripts fail to rise to category #3
because the writer lets their ego get in the way of commercial film making. A
producer may offer suggestions and recommendations to bump the script up to the
next level but such advice is often seen is an attack on the writer instead of a
positive feedback formula toward gaining commercial success. Producers think
commercially, writers think artistically. The most successful writers can think
both ways.
And we get less than 1% of our script
submission in category #3. The true gems, the category #3 scripts, can come from
anywhere and often come from new writers. They often need work but nearly all
the elements needed for success are already built into the script. These scripts
are nearly always recognizable before page 12 is turned. Professionalism and
talent always stands out far above the crowd.
And once we got an Oscar script. We
threw it in the trash. We don't do Oscar here. Oscar projects are for studios
and packaging companies that can afford to purposely lose money from the
"get go." We are not such a company. We like Oscar, but if it's not
commercial with strong appeals for profit potential too, we're not
interested. These are rare scripts and if you have one that is both commercial
and Oscar, of course will produce it, but we recommend you focus on being
commercial first, progress your career, then shoot for an Oscar!
What If We
Pass On Your Script, Then What?
As a rule, we do not offer any
reasons or feedback if we "pass" on your script. This is due to time
and cost factors (we are no teachers, we are commercial enterprise).
However, in some cases, if we feel the writer is worthy, we
may offer some insight. In other words, if we send you comments for improvements
or to improve script marketability, it means we think you show promise as a writer so keep at it and
keep honing your craft. We have also probably suggested you fix what is wrong
and come back to us for another try (this happens but is relatively rare).
In some cases, we find scripts that
are well done---everything is there and done professionally. When we turn down
such materials, it is generally due to commercial aspects (are perception of how
well we think it will do in the market as a film) or (rarely) with issues of
taste or actor/talent appeals, etc. Maybe the lead would be too hard to
cast or the script too costly to make or the story is too average and is
not very unique or fresh in concept. The list of possible reasons is long.
If you submit a script to us, we will
let you know the outcome. As a statistical rule, you should expect us to pass on
it.
In some cases, if we feel your project is commercially
viable and for some internal reason we were unable to move forward on it, we will
always let
you know and give you some solid suggestions or pass you to another production
company. Or we may even invite you to come back to us in
the near future to see if our circumstances have changed.
Script Targeting
Please be aware that we target only
certain types of material in certain genres. You may have a good script but if it's not
what we're looking for, do not be surprised if we pass. You may just need to
target another production company.
After
Option, Then What?
If we option your material, within
weeks it will become a project. We will do a preliminary budget, create a mock
poster and an investment prospectus, and begin soliciting funding until we
secure it. This process is very extensive and expensive, for which the writer is
not responsible.
At many production companies, your script will just sit on a dusty filing
cabinet while someone from the company shops it all over town (often trying to
resell it) and wears it out
for you--but not here at IP. We do not operate that way--we have much more respect for our writers and
other IP team members.
If your script needs work, you (or
another writer) will begin on the process at that time.
Collaborative Medium - Get Over It
If you want to excel in this industry
as a writer, then learn this basic rule. Once you sell (or option) you material,
it is no longer yours. You do not control it. This is a collaborative medium in
which many hands will be involved in shaping the final product. The script is
merely a starting blueprint and your creative vision often ends the minute you
sell or option the material so learn to detach yourself. This is the domain of
the producer and director, not the writer. If you must maintain creative
control, the write novels or work in theater where such things are ensured.
Your goal as a writer should be to
write the best script you can, sell it toward ensuring it becomes film so you
get credits and become known and in higher demand. You should always be focused
on writing the next script, not worrying about the last script you sold. Yes,
your material will be butchered, in your eyes, but that is what must happen in
order for this industry to do what it does. Remember, as you mount film credits,
even if the films are questionable, you build credibility, hence greater ability
to command more control---and can later, if desired, direct your own materials
to ensure the highest level of creative control possible.
A writer's ego has no place in the
filmmaking process so learn to remove it early on and you will be more
successful than your competition.
Why Another
Writer?
Many times, a story and characters
can be good but some areas of the script fall down technically or commercially.
The producer will make the call as if he/she believes the material can be fixed
by the original writer or not. Sometimes, a new writer with known skills in
certain areas is brought in to target specific fixes in the material. The new
writer (original writer) benefits from this is two ways: 1) they get to see the
improvements to their material and learn why they were made, which helps them further
hone their craft, and 2) they get their projected forwarded and likely produced
and distributed, getting film credit they may have never gotten otherwise--which
can help them get more writing assignments.
In our experiences, most writers are
good with at least one aspect of writing and but not all. For example, some are
great with dialogue and others with character development and others with
structuring, etc. however it is rare to find a writer that is strong in all
areas---such writers are never without work. We see many scripts that are solid
in one or two areas but fall down in another area and we cannot move forward on
them for such reasons.
Working As A
Writer
Our writers are generally expected to be on set every day while shooting takes place. If your work did not
come to us whole, that is to say, if another writer was needed to fill out
missing aspects to improve commercial risks, then both writers may likely be
required to be on set.
As a rule of thumb, we try to
maintain the writer's original intent throughout the process. However, this is a
creative and collaborative medium so the writer should never expect to be a dictator,
merely a big picture architect and consultant who also happens to write. the
writer's job is to serve the producer and director, not themselves.
Of course, we take pains to hire directors who have the same respect for writers
as we do, but as a practical matter, expect the director to play trump cards now
and again--collaboration is the name of the game so as a writer, be prepared to
work with others and to give ground when needed, but never fear standing up for
key aspects of the story or characters when its called for--your voice is
critical to getting a good film so speak up and chose your battles wisely--we
will listen.
However, a fair word of warning (to
everyone in Hollywood, really)--do not become a constant complainer unless you
want everyone around you to dislike you and never want you around again.
Professionals want to work with other professionals because they work at a
professional level of mutual respect. They do not like to work
with difficult people so keep that in mind.
We wish you all the best...
