Last week I wrote about what completed films are currently selling, so this week I thought I’d touch on how to sell your script in 2021. There are a lot of similarities between what scripts are likely to sell and what films sell, but the two are not necessarily the same. Let’s get into it.
Quality
Let’s get this one out of the way. Quality matters. To some degree, you need a higher quality to sell a script than you would for a completed feature. If your script isn’t fantastic, it’s not going to sell. This really comes down tot he glut of content that’s being created. Everyone in LA has a script to sell. I know it’s cliché, but I’ve had both bartenders and cab drivers try to get me to sell their work.
That being said, it’s much easier to sell a script with a defined genre and target demographic that certain networks and studios have mandated. Keeping up on these mandates is a good way to give yourself a better chance at selling your script. Those of us with development contacts at studios and networks are constantly aware of what our contacts are looking for, so that we know who to call.
In general though, Dramas are going to need to be the genre that needs to be the best. They’re the most dependent on the quality of the script to see financial success. They’re also the ones that tend to be the hardest to sell.
Labs
If you are making a drama, you need to be submitting to labs, fellowships, and some screenwriting competitions. There are only a few that really matter, and they’re the big ones, Sundance labs, Nicholls Fellowship, STOW story labs, and a few others. Do your diligence between shelling out for a screenwriting competition, as many aren’t worth the entry fee.
Coverage
Getting your project covered in The Blacklist or by an independent reviewer can give you a let up as development executives will know that if the coverage is good, it’s more likely they’ll get what they need out of the script. It’s generally a few hundred bucks, but it’s worth its weight in gold.
GENRE
I covered this more exhaustively in last week’s blog, but Genre is a hugely important factor in selling any kind of media. The genre will inform the sort of producer or development executive you approach, as well as frame the sort of actors it’s easier to approach on a budget, as well as who would be a fit to direct the project.
Feasibility
If you’re making pitching a sci-fi epic with 78 locations, 3 epic space battles, and a cast of 200, half of whom require full practical make-up, you’re not going to be making it for 250k. Realistically, that’s at least a 100 million dollar budget, and it’s not something you could sell without an incredibly strong package, top tier agent, established intellectual property, and uncle who’s an exec at one of the major studios.
If this is your first film, and you want to sell it while remaining attached as director, your absolute hard cap is 2.5mm dollars as a budget. That’s high, you’re better off going the indie route and making it for under 200k, or whatever you know you can raise to get it done. If you’re making a family film and can get talent attached, you might be able to get a bit more to make it, but realistically you’re going to run into issues with your first time director.
Showing you have a realistic expectation with your script will take you far.
Tailoring
Every studio wants something a bit different. This isn’t just for genre and demography, but also for themes, and general tone of the piece. Using children’s media as an example, Nickelodeon tends to want films that deal with real feelings kids are really feeling, where as Disney tends to take more of an inspirational escapism route. This is evident from he content they release. There’s a lot more to what they’re looking for, but it’s not something I’d be allowed to put in a blog. In general, look at your desired outlet and pick up on common themes.
Additionally, don’t put too much effort into this, they’re likely to ask for rewrites anyway. At least, if they’re serious. You do have to make a film that’s close enough that they’d want to take the time on that though.
Demography
Every network has a different target audience, and often each network has different subsets that are targeted by different programming blocks. Using Nickelodeon as an example, there’s Nick Jr. in the morning which is younger kids who aren’t quite in elementary school yet, or are around 1st or 2nd grade then the early afternoon offerings are geared more towards late elementary aged kids edging into pre-teens, then some of their more prime time offerings are geared to be family watch together content like Avatar: The Last Airbender or even content geared at teens like Avatar: Legend of Korra. For a long time they also transitioned to Nick At Night which was more sitcom reruns they got for cheap to keep the parents interested.
You need to understand who is going to watch your content to a high degree of specificity. The lists above are good examples, but you should also be considering the following:
Race, Gender and of your viewer,
age range,
Education Level
Income level
Niche/special interests
How they consume content (TV, Computer, Mobile)
A few other things like marital, relationship status, or other things in that vein can be useful here too, but they’re not as necessary. You should also be treating this as septette from Genre. As an example, Teen Horror is really hot right now. (If you have one, email me) Teen horror is like horror, but with absolutely no nudity, less gore and more angst. Further, it needs to be rated PG-13 or TV14 as opposed to R or TVMA
If you understand who is likely to watch your content, then you’re further along than most of your competition, and that is often all you need to get a meeting.
Package
In general, to get a network on board for your project you need to have some degree of recognizable name talent and a tested showrunner or directer on board. Each network and studio has different preferences on how much they want their projects packaged as well as what they need in that package, so having experienced development executives or producers on your team can help you navigate those waters. This segues nicely to…
Representation
If you’re serious about selling your scripts, you need to have some level of representation. In general, this would mean an attorney, an agent, or a co-producing partner. At Mutiny we tend to be more of the latter. Lawyers tend to just cost money, and you need a track record to get an agent. Unfortunately, there is no easy solution that works for everyone here, but if you can get representation for your work, your chances of success just got much, much better.
Thank you so much for reading. If you like this and want more, check out my blog archives if you want some free resources to help market your film and to receive curated blog digests, join my mailing list, and finally if you’d like Mutiny to consider representing your project, drop us a line.
