Hey all, just thought I'd share this little ditty I wrote for Funds for Writers about a producer's mindset as he or she is reading your screenplay. What does a producer look for? What makes him tick? What turns him off? My hope is that it will provide fledgling writers out there with a few things to consider that they may not have otherwise -- things that will put them in a better position to succeed. In some ways, the best writers are able to put on their "producer caps" when they need to in order to make their work more palatable to those who are actually in a position to get it made! See what you think. Note also the link at the end of the article to a Film Courage interview I did on the same subject...

How Film Producers Analyze Your Screenplay

Mark Heidelberger / 2019-03-15

When an actor reads a script, he’ll think about how to approach his character, his motivation, his arc. When a cinematographer reads that same script, he’s thinking about lighting, camera angles, and what cinematic style to employ. The art director thinks about how to use design principles and visual techniques, while the editor assesses how everything will cut together.

But what about the producer? After all, she’s the creative gatekeeper who has committed to bringing all these people together to turn your script into a movie. What does she look for? In short, everything. (Albeit from a macro level.) Because if she doesn’t understand what the script needs, how will she assemble the right team for it? Moreover, how will she find its audience? Below are six main areas that a good producer will consider when reviewing your script.

Story

The producer wants fleshed-out characters, dramatic tension, coherent theme, and appropriate narrative structure. These are the underpinnings of viable cinematic storytelling. The story should resonate with your target demographic – whether through comedy, drama or thrills – ultimately offering a two-hour journey that encourages the willing suspension of disbelief. Bottom line, you can take a great story and make a so-so movie, but you’ll never turn a so-so story into a great movie.

Budget

Producers are not only the film’s creative shepherds but also its fiscal ones. They’re responsible for deciding how much the film should cost and then securing that amount from investors. They also maintain a fiduciary duty to make choices that will benefit those investors. Smaller stories that require over-the-top set pieces or excessive visual effects might turn what would otherwise be a greenlight into a pass. Similarly, material with a low-budget feel might turn off a producer seeking something with wide theatrical appeal.

Cast

The right cast is almost indispensable to selling a film, so it’s no great mystery why producers rarely read a script without thinking about who would play key roles. Think about known actors whose look, style and personality might best befit the characters and let that inform your writing. The producer may ask you who you see playing those characters. Just make sure the actors you pick have a decent track record of starring in successful films.

Execution & Logistics

At the end of the day, remember that the producer is tasked with turning your words into images. That means finding the right locations, hiring the best crew, securing vendors, determining a feasible schedule, and doing it all in a way that protects the integrity of both the story and budget. If she sees a workable path for bringing your script to screen within the budget parameters, she’s more likely to take a chance on it.

Marketing

Loving a script is not enough. The producer wants to know that others will love it, too. Those people will make up the movie’s audience. As she reads, she’ll be thinking about how to grab the audience’s attention before they ever buy a ticket, from posters (how will the stars look on it?) to trailers (are there some good action-oriented set piece moments?) to awards potential (can I parlay a win at Cannes into an Oscar?). Considering such things in the scripting stage yourself might make your material more marketable.

Distribution

A feature film is ultimately a product. Making it is only the first step. Releasing it to an audience is the rest. The producer thinks about which distributors, sales agents, and platforms will find the story appealing, whether it be a made-for-TV movie, an international blockbuster, or a small Spanish-language indie for the Latin streaming market. Elements like scope, scale, plot, tone, genre, cast type, and marketability factor into this decision, so your understanding of such things help you better craft material.

Summary

These six elements are critical to how a producer analyzes a screenplay, but they don’t operate in a vacuum. They all relate and affect each other. For instance, story and budget will affect the level of cast you can attract, while all three will affect logistics. Cast and budget will affect the marketing plan, and so on. As such, multi-hyphenates like writer-producers who actually produce some of their own material are in the best position to consider another producer’s mindset when writing future scripts.

For further insights, here is part of an interview I did with Film Courage on this topic:
https://youtu.be/PAz-hW_Vym0

Hey all!

Happy Sunday! I'm sitting at my computer desk sipping my tea, light streaming in through the windows, enjoying a little peace and solitude. It just feels like one of those days where it's great to be alive. It also feels like one of those days to share some helpful advice with up-and-coming filmmakers who might be trying to get their first script off the ground. I often get asked a lot about optioning material -- how it works, what to know, things to watch out for, how much and how long to option the material for, and so forth. To address all of those questions in a comprehensive manner, I wrote this little ditty below, which was first published last month at Funds for Writers. It also includes a link to an actual agreement template I use when optioning material. Check it out and hopefully it will give you some insights into the process. In the meantime, I'm just going to go back to enjoying this beautiful day :)

Cheers,

Mark

Optioning Your Screenplay to a Producer

Mark Heidelberger / 2019-02-02

Congratulations! Not only did you finish writing your 120-page cinematic opus, but you have a motion picture producer interested in bringing it to the silver screen. You’re ready to sell. Ready to see your name on the back of a director’s chair. Ready to chow down on craft service while Jake Gyllenhaal and Rachel McAdams deliver your prose… But wait, not so fast. What’s this agreement the producer’s handed you? An option? He’s not buying it? What does this mean? Well, let’s break it down…

What is an option exactly?

An option agreement is an industry-standard document that interested producers give writers when they’re not quite ready to buy the script, but don’t want anyone else to buy it either. Maybe they don’t have enough money yet, aren’t sure they can get it made or don’t know what the budget will be (and the budget often determines the writer’s fee). An option simply gives the producer the exclusive right to purchase the material at any time during the term of the agreement. Here’s a sample option for reference: https://docs.google.com/document/d/1kpiuHbB6zUJhm1FDUq__4OrB6LeaJ25QnJvF2fM_Vrw/edit?usp=sharing

What do I need to have in place before optioning my script?

First, make sure the script has been registered with the Library of Congress’ Copyright Office. This is crucial for your protection and necessary for the producer to prove chain of title to the eventual studio or distributor that picks up the film. Information on copyright registration can be found here: https://www.copyright.gov/registration/performing-arts/index.html. For added protection, you can also register it with the WGA. Lastly, if the story is based on a real-life person, make sure you’ve acquired their life rights.

How long should the option term be?

Options can last however long you and the producer deem appropriate. Just remember that no one else can buy the script while that producer holds the option, so it may depend on your level of trust or how badly you want to work with him. One or two years is a fairly standard initial term, and it’s not unusual to have a one-year extended term triggered by the payment of an additional fee and written notice from the producer of his intention to renew.

How much money should I ask for?

Again, there’s no right or wrong answer here. Options can be as low as one dollar or as high as $10,000. As long as there’s consideration – something of value going from you to the producer and vice versa – the option is valid. The size of the fee will likely be based on the stature of the producer and how big the expected purchase price will be, but for a typical indie, $500 to $1,000 is common for the initial term. You might also negotiate a percentage (say 5-10%) of the expected purchase price. However, remember that the initial option fee is usually applied against the purchase price; so, if the producer pays a $2,000 option fee and the final purchase price is $20,000, he only owes another $18,000 to buy the script outright.

What other elements should be part of the option?

You certainly want the producer to lay out terms for exercising the option, including the purchase price, your writer’s credit, the notification procedure and exactly what rights he’s acquiring (just the film rights or also sequels, television, and other ancillaries). The compensation details are perhaps the most crucial though and should reference bonuses, backend participation and, if appropriate, fees for sequels, spin-offs and remakes. If the final purchase price can’t be determined yet because the budget is still undecided, ask for a percentage of the budget with a floor (i.e., 2% of the budget with a minimum of $20,000).

What are those short-form documents at the end?

The short form option and short form assignment are standard addendum to any option. The short form option, which states the deal between the parties in the simplest terms, is recorded with the copyright office by the producer so that outside parties know the material has been optioned. The short form assignment, also recorded with the copyright office, lets all parties know that the producer is the new owner of your material upon his exercising of the option. Proof that these documents have been recorded is also necessary for verifying the chain of title.

I have had a pretty prolific, ongoing relationship with the Funds for Writers website, creating content for them that's intended to benefit anyone writing for film, television or other media. One of my recent articles featured ways for writers to boost their presence on the web. I try to provide tangible and practical insights that can be of real value for people. Check out the article below...

7 Ways Entertainment Writers Can Maximize Their Online Presence

Mark Heidelberger / 2019-02-22

Writing a noteworthy feature film or television script is challenging enough, but as an up-and-comer, standing out in a crowded marketplace might be even harder. Tinseltown is chock full of novice scribes angling for a shot at the spotlight, creating fierce competition as everyone jockeys for attention from a limited group of agents, managers, and producers. With all this, it may seem hard to find a good friend in the entertainment business, but the internet can certainly be one if you know how to leverage it.

1. Blogging Creates Belonging

A solid first start is creating your own blog or website. Blogger by Google is 100% free to use with a blogspot.com sub-domain and offers reasonably-priced upgrade options. Additionally, free website builders like Wix, Weebly and Site123 offer the chance for a professional-looking page with equally affordable hosting fees available. Once created, use it to write regularly about your endeavors, from new projects to contest wins to your latest Hollywood party-hopping adventure. Over time, it will create exposure and ensure people have a place to reach you.

2. Social Media: No Longer Optional

Get on Facebook, Twitter, and LinkedIn. But don’t just tweet or post about successes on your personal page. Follow others in your field. Join filmmaking groups. Use the platforms to network with producers, directors and other writers, seek collaborations and work opportunities, share important resources and get invited to events. Yes, it’s difficult to speak highly of yourself in such settings without coming off as pretentious, but until you have an agent or manager doing it for you, the next best thing is to generate the support of an online community who can help by sharing your posts.

3. Those Mysterious Spec Script Marketplaces

Several reputable marketplaces exist where writers can showcase speculative material for potential buyers. Some of the most prominent include Inktip, Spec Scout and The Black List. The former allows you to list any treatment and/or script for a nominal fee while the latter two sell analysis services that result in high-scoring scripts being promoted online. Indie producers seeking affordable and often specific material from writers will check these sites. (Side note: Writer-producers who are seeking financing can also list their projects on Slated if they can get admitted to the site.)
​​​​​​​
4. A Little Competition Never Hurt

Screenplay competitions are a viable way to generate online buzz so long as you perform well in them. The top finishers in well-respected contests like Nicholl, Final Draft, and Scriptapalooza – usually quarterfinalist level and above – will be mentioned on their websites and in various online promotional materials. Script Pipeline, going a step further, offers finalists in their competition both development assistance and online circulation of the material to a network of producers, agents, and managers.

5. All Publicity’s Good Publicity

Seek out opportunities for free publicity in online trade magazines, screenwriter blogs, and entertainment podcasts. Find an angle that makes your material or personal story unique and pitch those site proprietors on why they should give you a platform. No good at pitching? Well, you’ll need to work on it because it’s an essential skill for writers in Hollywood. But in the meantime, hire an affordable short-term publicist like October Coast to help you find such opportunities.

6. Shoot Something!

Not all online exposure has to be written. Writing for the screen is just the first step in the process of creating a much more layered audio-visual product. Shoot a scene from your script yourself to share on YouTube or Vimeo as a way to show your scripting skills in practice. Better yet, see if you can convince an indie filmmaker to shoot a short or do a web series based on your material. Once you have any sort of produced credit, you can submit to have a profile on IMDB, perhaps the most referenced online resource there is in entertainment.

7. Be Down with the Cause

Consider ways your material might be able to attract the attention of partner groups like charities, non-profits or other special interests. For instance, if your script features a lead with autism, you might be able to attract the support of autism foundations that can help provide online exposure for the story. Material that is inspirational, purpose-driven or based on a true-life figure is often the best fit for this.

Hey all,

Well, it's 2019 and the spirit of hope and anticipation for the future is at full tilt. I'm confident that this is going to be a break-out year, as several of my projects have made significant strides over the past several months and I continue to pick up new clients who see value in my production expertise. I fully expect to have a more thorough update on the status of my feature film projects like "Walking on Palmettos," "Worth the Fight" and "LITU" in another month or two, but for now, I'd like to simply share with you a filmmaking master class I did for Film Courage toward the end of last year that I feel was pretty well received. Check it out if and when you ever have a couple hours to spare:

https://www.youtube.com/watch?v=q0e3VcoT238

In the meantime, I welcome any younger, up-and-coming filmmakers who have a project that may benefit from my skills to reach out, say hi and see how I can help them. While I only work for hire, many people are often surprised how accessible I keep my rates. Part of the reason for that is that I enjoy working with newer filmmakers who may not be rolling in dough, but are fun, passionate and have a story to tell. The best way to reach me is through my website:

https://www.markheidelberger.com/form__map

Thanks for the support and I look forward to hearing from you!

Cheers,

Mark

Dear Friends,

I hope 2018 has been a productive one for you. As the Christmas season descends upon us and we prepare to close out the year, we look to the future -- 2019 and beyond -- with fresh eyes, hopeful dreams and, of course, new goals. If you're a writer, perhaps one of those goals is figuring out new ways to get your work seen. It's not an easy road, but the bumps can feel a little less, well, bumpy if you have an advocate in your corner. Below is an article I recently penned for the website Funds for Writers on how aspiring screenwriters without significant credits can get the attention of representation like agents or managers. Hopefully it provides you with some insight as you seek to make 2019 your best professional year yet!

Cheers,

Mark

Five Ways Aspiring Screenwriters

can get an Agent’s Attention

By Mark Heidelberger

I’m constantly meeting aspiring screenwriters from around the world, whether on social media, in academic settings, or via professional networking events like Pitchfest, and one question I hear a lot no matter where I am is, “How can I get an agent (or manager) if I have no produced credits?” It sure seems like cause for vexation, especially in Hollywood where chicken-and-egg conundrums abound. It’s true, yes, that agents and managers are integral to success in the literary screen trade because they provide access to opportunities not otherwise available to fledgling writers. And since this is widely known, they put up walls to prevent the inevitable deluge of middling material from every wannabe who calls himself a writer just because he learned Final Draft. Fortunately, though, they left a few small fissures in their walls where truly talented and resourceful writers might squeeze through, even if those writers have no credits.

Perform Well in Competition

Screenplay competitions are a viable path to reaching agents and managers – and this includes platforms like The Black List (https://blcklst.com/) – but you have to be selective in which ones you submit to and you have to do well in them. Only a small handful of competitions are going to provide access to literary reps with any real cache. (See more details about these competitions in my previous article, “The Pros and Cons of Screenplay Competitions”: https://fundsforwriters.com/the-pros-and-cons-of-screenplay-competitions/). Typically, semi-finalists in well-respected contests will get phone calls from reps interested in seeing their material while finalists and winners will get in-person meetings.

Get a Client Reference

Writers should speak with their friends and colleagues who have representation to see if they can gain entry that way. And that friend doesn’t need to be a writer either. She can be a director, actor, editor, cinematographer, whatever – so long as the agency she’s with also has a roster of writers. Your friend should at least be able to tell you a little about the agency’s culture and whether she’s had a good experience there so you can determine whether they might be a fit. If so, offer to treat your friend to a nice dinner or some concert tickets if she can get you a face-to-face.

Attach a Name

Tinseltown loves “names.” A project with a recognizable actor, director or producer attached will often draw the attention of reps eager to sign the writer before the project sells and that big payday comes. The agency that reps your attached figure is the most logical choice since they have a vested interest in seeing the project materialize. Resourceful writers who have no agent connections but know others working in the industry should brainstorm ways to reach desirable names. Once a name is attached, generate heat by announcing the attachment in a trade paper like Variety or The Hollywood Reporter and then cite that article in agent queries.

Leverage Other Successes

Many writers get a literary agent after achieving some modicum of success in another area of the business like directing, acting or editing. Let’s say you’re a fairly prolific editor, but wish to transition to screenwriting. Use your past achievements as a bargaining chip with a prospective agent who wishes to represent you as an editor by letting him know you’ll only sign on if the agency also represents you as a screenwriter. Just be sure to verify that the agency is competent in both areas. If you’re a published author, you may be able to leverage solid book sales to similar effect.

Network, Network, Network

At the end of the day, Hollywood is still a networking town. The whole reason the old adage “it’s not what you know, it’s who you know” got to be an old adage is because there’s so much truth to it. Attend industry events where agents and managers might be present like parties, seminars and pitch sessions. Strike up a conversation and generate a rapport. Notice I didn’t say pitch your script, at least not off the bat. Just get them to like you first because it’s really you they’re representing, not your script. If you hit it off and they happen to be looking for new “development clients” with fresh stories to tell, they may just request your script.

You can also see me presenting on this topic at: https://www.youtube.com/watch?v=JNADYEDlCEc&list=PLez8jOvskc-N-qAIePOxtIjT_VzwuI5_E&t=3s&index

It's been a while since I posted an update on my work, so I thought I'd share a little about what's been going on in 2018. It has certainly been eventful so far, with lots of projects and possibilities zipping around the old entertainment ether. Here are some of the highlights:

- Produced a series of five docu-style Facebook ads for music rehearsal app Playyo, all featuring actual musical artists, which have been running since March

- Served as a producer for the LA unit of feature documentary "Lil' Buck Renaissance," featuring prolific dancer Lil' Buck and interviewees such as choreographer Benjamin Millepied and director Spike Jonze

- Currently assisting longtime friend and collaborator Nathan Ives on his feature documentary "Somewhere in the Middle" about working artists and craftspeople

- I guess you could say 2018 has been the year of the documentary, as I've also been working on researching and brainstorming ideas for my own feature documentary in addition to all the other projects mentioned above

- Turns out "The Basement," a horror feature I produced in 2016-17 with Mischa Barton will get a limited theatrical release by Uncork'd Entertainment next month followed by a release to home entertainment

- Was featured in a number of interviews and profiles this year for a variety of media outlets including Movie Vine, The Movie Elite, Film Courage, From Page 2 Screen, We Are Cult and Inquisitr (the latter named my film "Comfort" the "best romance story you haven't seen" from 2017)

- TDP Films was a stone's throw away from locking production financing for the techno-thriller "LITU," with an MG from ARRI Media and private equity coming from investors in India (I would have started prepping the film back in late May/early June), but it looks like the Indians pulled out at the last second, leaving us scrambling to find a new source of funding :(

- Continue to work with various clients on advancing their feature projects toward the starting line, including "Walking on Palmettos" for FreeWill Films (we have partial financing committed from Weathervane Productions); "Worth the Fight" for Flyweight Films (we were able to attach actor Tony Lo Bianco and have director John Hillcoat reading for consideration); and "P27" for Allen Media Group/Windsor House Entertainment (my newest client; we're working on script development)

- Continue to act occasionally when the urge hits me, and this year I had a speaking part in the HBO series "Big Little Lies" with Reese Witherspoon, Nicole Kidman and Laura Dern, which I believe airs in early 2019

Naturally, I'm always happy to entertain new clients, whether they're looking for an experienced producer to execute a funded feature, help handling marketing and distribution, assistance with packaging cast, or just a knowledgeable line producer/UPM to run a budget. More information about me and what I do can be found at www.markheidelberger.com.

Here's an article I recently penned on how screenwriters can avoid getting scammed. Hopefully it proves useful to those who are just starting out...

How Screenwriters

Can Avoid a Scam

By Mark Heidelberger

One downside to being a producer in Hollywood is that all the bad producers, the shady ones, the guys masquerading as professionals when they’ve never made so much as a YouTube video, give the rest of us a bad name. I don’t know how many times a screenwriter has told me of their reticence to do a past script deal because the producer seemed untrustworthy. Unfortunately, quite often, they were right. There are more than a few wannabes out there willing to spend 20 bucks on classy-looking business cards in hopes of bilking writers out of fees, credit and other rights they deserve as creators of the material. However, there are a few things you can do to make sure you’re not a victim of one of these silver screen scammers.

Check Their Background

If a producer requests your material, do a little digging on them. The internet makes it easy to see what they’ve produced and how long they’ve been doing it. Places like IMDb and Wikipedia are fairly comprehensive media databanks, and anyone with even the smallest track record should have some footprint in a Google search. Moreover, viable producers have no problem providing references of other writers with whom they’ve had productive working relationships. Don’t be afraid to ask for them.

Arrange a Phone Call

A lot of phonies avoid the phone. Why? Because it’s much easier to spot red flags in a one-on-one conversation where they not only have to nimbly field a barrage of questions, but also provide sensible answers. Therefore, many of the more dubious types prefer email where they can concoct believable presentations and take additional time to navigate pointed inquiries. Always insist on a phone call to generate a rapport, discuss terms and address questions.

Hire an Agent or Lawyer

The old thinking went that agents got 10% of the fee because they did 10% of the work. While you’ll have to give up a small commish, it might be worth it to avoid some bamboozling from a questionable character, especially if you’re concerned about your inability to spot warning signs. An entertainment attorney or agent is much better equipped to negotiate key deal points anyhow and will be more likely to assume the task when they know it’s a paying gig.

Don’t Work for Free

Unless, of course, it’s not a paying gig. It’s one thing for an indie producer to give you some notes to address before he takes the script out, but asking you to write an entire script for free is something altogether different. Many promise pie-in-the-sky results in exchange for your sweat equity, like a juicy deferment or back-end. Don’t do it. Any producer capable of getting the film launched is capable of paying you a few bucks for your time and skill. Similarly, don’t sell or option spec material for free.

Don’t Pay Them

There’s a flip side to that coin. Don’t sign your material over to someone who says he’ll get it made if you just slide him some green. You shouldn’t have to pay a producer to get your material produced; he should be paying you. There are viable producers-for-hire who perform production and development services for clients (heck, I’m one of them), but the difference is the payer’s the boss, retaining ownership and control of the material while getting some specific, guaranteed result in exchange.

Insist on a Contract

If someone says they don’t do contracts, be afraid. Be very afraid. Contracts mitigate the risk of some future dispute by ensuring both parties know exactly what they’re getting and when. Just as important, they provide legal protection in case there is a dispute. Make sure the contract specifies your payment terms, residuals, the details of your credit, any reserved rights, and options for retrieving the material if it’s not produced in a given time frame. Never forego these rights just to get your script made!