James Peters
Forum Replies Created
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Hi folks – I’m one of those screenwriters that Hal talks about in Lesson One — about 20 screenplays (feature length and shorts) and a weak market strategy. I’ve tried InkTip and other marketing services for several years, and out of hundreds of queries I received one offer to option–for one dollar American! I hasten to add I’ve had fun, too–teaching screenwriting at a local college for three years, writing coverage for producers, agencies and clients for a decade, judging scripts for competitions, and even earning three producer credits for a feature and a couple of shorts. Two of my scripts have won minor competitions and others placed well elsewhere. As if all that weren’t enough, I studied screenwriting at UCLA, ScreenwritingU and NY Film Academy, I’m a disabled combat veteran, a former rancher, a former environmental engineer, and host to an armadillo family that feasts nightly on the newly laid sod in my front yard! So why is marketing my work not working? High concept and imaginative storytelling have always been foremost in my mind, and it’s always been fulfillment as a screenwriter–not fame or fortune–that make me work hard. So maybe this course will help.
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1. Genre, Title, and Concept.
Genre: Thriller with humor, fantasy and psychological elements
Title: Dead Head
Concept: A young pilot works for a secretive “airline” that never flies–until one day a hijacker forces him to take off on his first commercial flight.
2. What I think is most attractive about my story.
The lead character–as teenager and adult–will attract a name actor, and his persona is a fascinating blend of computer genius, a mental depression patient, and a fugitive from the CIA and a Russian consul.
3. Whom I will target FIRST — managers, producers, or actor’s production company — and why I picked that target.
I decided to target film producers for pitching Dead Head first because that actually would start with producers whose repertoires include thrillers and who want to focus on character-driven features that showcase name actors in lead and major support roles.
At the same time I believe the film could be distributed successfully with less-well-known actors simply because the story hook and characters are unique and fascinating. Producers can be heartened by the prospect of a lower above-the-line budget.
4. What I learned today.
A screenwriter must be prepared to wear two hats: An accomplished screenwriter and a capable, committed business owner/operator. Having worked with an LA agent for over seven years (until his unfortunate death a few years ago), I found that it was necessary to do my own research and pitching to producers. That basic truth is doubly true today. But the agent or manager is a valuable resource for improving the script, guiding the screenwriter’s marketing campaign (e.g., targeting and pitching), and sealing option/purchase deals.
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1. Genre, Title, and Concept.
Genre: Thriller with humor, fantasy and psychological elements
Title: Dead Head
Concept: A young pilot works for a secretive “airline” that never flies–until one day a hijacker forces him to take off on his first commercial flight.
2. What I think is most attractive about my story.
The lead character–as teenager and adult–will attract a name actor, and his persona is a fascinating blend of computer genius, a mental depression patient, and a fugitive from the CIA and a Russian consul.
3. Whom I will target FIRST — managers, producers, or actor’s production company — and why I picked that target.
I decided to target film producers for pitching Dead Head first because that actually would start with producers whose repertoires include thrillers and who want to focus on character-driven features that showcase name actors in lead and major support roles.
At the same time I believe the film could be distributed successfully with less-well-known actors simply because the story hook and characters are unique and fascinating. Producers can be heartened by the prospect of a lower above-the-line budget.
4. What I learned today.
Not only must a screenwriter have a well-crafted screenplay with a strong hook, but he must wear two hats, as well: An accomplished screenwriter and a capable, committed business owner/operator. Having worked with an LA agent for over seven years (until his unfortunate death a few years ago), I found that it was necessary to do my own research and pitching to producers. That basic truth is doubly true today. But the agent or manager is a valuable resource for improving the script, guiding the screenwriter’s marketing campaign (e.g., targeting and pitching), and sealing option/purchase deals.