Someone who uses various names and claims to be from various places asks more than once:
What does Hollywood really think of companies that offer services like InkTip?
The best answer to that is to explain how producers find material. One critical task of the producer is to find or develop quality producible screenplays. This is an extremely difficult and costly job and one that will make or break a company. Keep in mind the following formula:
% of screenplays that are unproducible = 99.9%
Labor required to evaluate each screenplay = 3 hours
Cost of labor = $75+ per screenplay plus executive time
Cost of finding a producible screenplay = substantial
As that formula sinks in, you can see that the job of finding material is a job of carefully using resources. If a producer were to simply evaluate every script that was offered, most producers would go broke before ever finding a quality script. Producers overcome this obvious problem by using filters.
The most recognizable filters are agents and managers. The agents and managers have presumably already filtered out many of the garbage scripts. Therefore, if a producer limits its consideration to scripts that come from an agent or manager, the chances of finding a quality script are higher. However, the agent game is a challenge for the producer, too. First, most agents and managers are not very good filters. They often push inferior material. Second, the agents and managers who are good filters carefully mete out material and usually submit quality scripts simultaneously to multiple producers. The result is that producers often compete for the few strong pieces of material in the market. Well-funded producers have the ability to compete effectively in this environment, but most producers do not.
Other common filters are personal relationships. Producers and their executives develop personal relationships with reliable screenplay sources, whether they be directly with a small number of writers or with a select circle of agents and managers who will pass on quality material prior to submitting it in the open market. This, too, increases the odds of finding quality material with the least amount of resources and this is the most common way material is acquired in Hollywood.
Another potential filter, and the one being urged by services such as InkTip, is the Internet. Some producers have decided for one reason or another that looking through lists of log lines from completely unknown writers for hours is somehow cost effective. The characteristics of material on a service like InkTip are that a higher percentage of it is unproducible (as in almost all of it), but a higher percentage of it is also unknown and, therefore, not subject to market competition. In other words, InkTip is a place where a producer might find that very rare diamond-in-the-rough no one else has spotted. However, once a producer selects your log line hoping to find the diamond-in-the-rough, the producer still has to expend considerable resources to read your script – or at least a small portion of your script – to evaluate it. This substantially limits the value of InkTip to most producers.
The reasons why a producer might actually spend resources evaluating log-lines in a computer database like InkTip are: (1) the producer is looking for specific content; (2) the producer does not like to read screenplays; (3) the producer has no real resources, e.g. no paid readers to read tons of scripts, (4) the producer lacks resources to compete on the open market, or (5) the producer has so many resources that spending some of it on the very unlikely chance of finding a producible script on InkTip or other services is worth the expense. A review of the “success stories” on InkTip’s website suggests that most of the producers who acquire material through InkTip fall into categories 2,3 and 4.
Accordingly, services like InkTip do have a small place in the market. However, keeping in mind that the number of screenplays registered with InkTip or any similar service is likely enormous, the likelihood of your screenplay being randomly selected by a producer who actually has the ability to pay you money for the script and/or get your script turned into a movie is about as high as the likelihood of a producer actually finding a producible script on such a service. It is an extreme, extreme long-shot.
The other issue to consider with a service like InkTip is that it’s philosophy runs counter to conventional wisdom – at least an agent’s conventional wisdom – which is that access to your writing (especially if you can actually write a professional quality script) should be highly controlled so that it is a desired commodity. Once your script is on InkTip, it is not controlled at all. Anyone who meets a few basic criteria has access to it. This tends to devalue it. However, for emerging writers who have no access to producers in the first place, especially out-of-town writers, this is not a controlling issue.
So what does all this mean? Should you or should you not use a service like InkTip? I don’t know. Now that you can make an informed decision, that’s pretty much up to you.
Unfortunately, InkTip.com is used MORE by lower level producers looking for that breakout screenplay i.e., the “diamond in the rough” as you pointed out.
While I wouldn’t rate every single producer on Inktip.com as a wannabe Jerry Bruckheimer, a lot of them aspire to be just that…
The bad news is however, that many many many of these lower level producers don’t even know what a great script looks like because:
A) They’ve never seen one before.
B) They don’t have enough experience to know one if it was in front of them.
Not sterotyping here because I believe there is a small percentage of decent producers looking for screenplays…
Having said that…
It’s just another numbers game… A low level producer finds YOUR diamond in the rough — convinces you to option it to them for next to nothing — then they start trying to shop it around — until they lose interest.
HAPPENS EVERY DAY.
Why?
Because ANYONE can upload garbage to InkTip.com — there is no baseline of quality or expertise that must be met and let’s be HONEST here… InkTip.com is simply FULL of untweaked first drafts that the writer just knows is going to sell.
With a system like that… You got a shot that might be just a bit better than hitting the lottery IF YOUR SCREENPLAY IS OUTSTANDING.
But now having said that… An outstanding screenplay will SELL no matter what… It may take time to get it in the right hands of someone but it will sell… *NOTE: when I say outstanding, I don’t mean the historical worm farm debutante that must save the family business… I’m talking outstanding meaning both high concept and outstanding.
Good post.
Unk
I wonder if Kevin Spacey’s Triggerstreet.com site functions similarly to this. My main fear is that anybody can read your stuff on the internet, then who knows what they’ll do with it without telling you.
Andrew,
That is definitely ANOTHER problem one has to deal with if you’re posting on TriggerStreet.com and ZoeTrope.com among others…
Not so much InkTip.com because not just anybody can look at your logline, read your synopsis, and finally, download your screenplay.
In fact, Jerrol LeBaron of InkTip.com, does try to police the Producers that have access to your screenplays but that’s not really the problem as I see it… The problem (as I see it) is that a lot of Producers skim through loglines and synopses and just don’t find anything that trips their trigger and when (and if) they finally do, the screenplay just isn’t up to snuff i.e., the first draft syndrome.
Whereas TriggerStreet.com and Zoetrope.com are alike in the fact that they recognize oustanding writing — but maybe NOT high concept(s).
Now the question might be…
Do these kinds of sites help push better writing?
I don’t think so… Unless you write for the MARKET i.e., a high concept, what real chance does your historical drama really have in the marketplace even IF it gets made? So it gets made and fails miserably and then what? Switch over to writing high concept screenplays?
I’ve said this before but these types of sites and to a certain degree… Screenplay contests, don’t really serve the writer very well… The majority of screenplay contests always seem to pick screenplays that seriously do not have a chance in hell to ever be produced. The writing may be outstanding but the story isn’t what people will buy tickets to see.
I see this as a false perpetuation of hope to writers trying to break in the business… It just might be that your historical drama fits better as a novel than a screenplay.
I do receive all kinds of flack for this opinion but they consist mainly of complaints… i.e., “What else are we supposed to do?”
MARKET.
Unk
I forgot to add…
Then there’s always the unscrupulous writer who frequents TriggerStreet.com, Zoetrope.com, etc. looking for ideas.
These writers KNOW HOW TO WRITE but are terrible at creating their own concepts.
What’s to stop a writer like this from reading your terrible screenplay but thinking they can write a great screenplay around your concept or idea?
Nothing, that’s what.
I personally put way too much work in my creation of concept to ever share it on a web site like TriggerStreet.com or Zoetrope.com.
There’s always somebody that might be able to write it better than you… LOL.
Unk
I just took a stab at InkTip. I placed my entry there last Monday. My expectations aren’t very high but I kind of set them that way going into this. I wrote a character-driven gritty crime drama set in the Bronx. Is the industry clamoring for this? Not sure. I guess I’ll find out or not.
So what are my expectations? Well, possible representation, possible assignment, possible relationship with some people that might help down the line but the truth is probably nothing. So why do it? Why not? I have a logline, a simple synopsis and the first 15 pages of my screenplay for a little taste of my style. Interested parties can contact me and that’s a lot better than just uploading an entire screenplay for the masses to read in my honest opinion. I know the odds are against me and everyone who does this but they were against me the minute I sat down and wrote FADE IN. So be it. Move on.
I’m really just looking for that one “diamond in the rough” producer who’s interested in creating a working relationship with a writer/director and seeing what I think is a solid project through to the end.
Is that so wrooooong?
William –
Please keep us posted on your results with InkTip.
William,
It’s not at all wrong… I wish you only the very best of luck with it!
Screenplays are sold through InkTip and even produced as long as you know it’s all part of the numbers game, you’re going in with your eyes wide open.
Again, good luck with it!
Unk
Unk – I was just kidding in a mock Jon Lovitz doing Harvey Fierstein voice…
Thanks. I’ll keep everyone notified if anything happens.
Is the same true of Script Pimp or are they better since they actually only recommend certain scripts? If you get a recommended rating do you have a good chance of getting representation or an option?
Joseph,
As I understand it, Script Pimp only reviews scripts if you pay them to help you develop your script. The whole series of services costs over $1,000. Here is a previous post on this same subject that talks more about services like that and has some links that might be helpful. (The old post also talks about Inktip.)
According to their website you have to pay $195 to get development notes on your script and then if it receives a recommended rating they will shop it to producers. However, I assume it’s very hard to get a recommended rating the first time around.
Thanks for the information about Inktip.
I have used InkTip with several scripts over several years. You are definately right about there being way too many wannabe producers out there with no idea what to do with a script once they have weasled it out of you for little or no money for the option. I’ve optioned several scripts without ever seeing a dime. They’ll tell you anything (the script is the best they’ve seen in years, you have a great talent, etc.) to get you to sign the option, then they do nothing with your script. I’ve complained to InkTip but they defend their site adamently. But without a good agent, there aren’t many alternatives.
Michael,
Good for others to know!
Thanks,
Unk
Reasons why a producer might actually spend resources evaluating log-lines in a computer database like InkTip — could we add he’s/she’s a first time producer or producer wananbe looking for a genius screenwriter who can help launch his/her producing career but won’t cost him/her a lot of money that he/she doesn’t have?
Stupid gender identifying pronouns…
Michael – I’m curious, what were the terms of your option with these producers? I only ask because you said it happened with several screenplays. If it happened once, twice, three times, what went wrong there? I do understand the excitement from getting a bite but I’m not sure why that pattern repeated itself so many times.
If you don’t mind writing about it here, what were the experiences you had with these producers?
Hi William,
One producer optioned three scripts. But he did not know enough about the business to tell me what to fix before he sent the scripts out to studios. Once a script gets negative coverage, you might as well forget ever approaching that studio again with the same script.
Another script was optioned by an independent filmmaker and seemed to be going through the development process well enough. Then I quit hearing from him. And he never answered my emails.
I could go on and on. The point is: Check up on the producer/manager. Look them up on IMDB to see if they have any credits. I understand that not all new producers are flakes just like all new writers are not flakes. If they send you an option agreement with the clause that they can extend the option for a year at a time and there is little or no payment, then don’t sign it. Have them drop that clause.
On a brighter note, I am negotiating a deal now with a film company in Ireland who I checked out and is legit. Hopefully, that will be the foot in the door I need. I hope this has helped.
–Michael–
In my opinion, you should never give a free or virtually free option on your script. Here’s a prior post explaining why.
Hi William,
This is a follow-up to my last post. If you get an option agreement, make sure any purchase price stated meets or exceeds WGA minimums. You can view a schedule of minimums on the WGA website. They also can help with contracts.
–Michael–
Michael –
I agree, completely.
thanks for this info. found it really valid. i have had several scripts up on inktip over a few years with no success. now i have a more positive understanding of why.
cheers.
daniel
hi guys
i just want to say thanks for all the info, its the first tym am hearing of inktip. com i’ll check it out, but am a member of script pimp – ive sent out a couple of queries with pimp has any one out there ever done this and had a response through the query? or am i the only one?
This was very helpful. Thanks. I’ve been getting e-mails from inkTip for over a year and wondered whether or not it was legit. Sounds like it definitely is, but is for the long shot with novice producers. Which is not necessarily a bad thing, considering the run-around we can get from Hollywood producers.
I am working with a producer at the moment who picked up a script from Inktip which was then produced and released last year. So Inktip worked for him. The film was shot in Ireland, on a low-ish budget (for Ireland) and pulled in a number of good actors. The writer, who also become a producer, has since had another film produced, off the back of the first, so to speak, and has his third in development. So it can work. The danger, I think, lies in a high concept idea being opened up to the world… there is no copyright on ideas, and even if people don’t blatantly steal the idea, it will still be floating around in their subconscious, possibly to emerge in a story meeting six months later. When the inktip entry has been long forgotten…
Anyone heard of Big Deal Pictures? It’s listed on Inktip as looking for scripts, but I can’t find any info on them.
Here’s another Inktip issue which I find very unsettling: one of my scripts was recently reviewed by an unknown producer using a PO Box address. I emailed Inktip expressing my concern that this makes legal recourse infinitely more challenging. I tried to get them to understand that corporate governance was important and that their was a reason why government agencies, financial institutions or ANY business-to-business contracts would never accept a PO Box address. They were unwilling to change their policy. My advice. Never sign a contract or do business with anyone who uses a PO Box address as their sole address. A contract must have a verifyable street address.
As an unknown all query letters sent out to the big guys in the business come back rejected.The door is always closed. I’m taking a chance on Inktip because I’d rather be in the game than have my work sit on my desk in New Jersey.
Also on Inktip is the guy posing as a producer who looks at your work and says it needs some work. Then all of a sudden he’s a script analist or consultant. He then offers to rewrite your script for say anywhere between 5 and 20 thousand. But he will take whatever you have. So beware!!!! There are a lot of fakes out there. On inktip there is nothing but low level producers who don’t even belong in the game. Thats why they are on inktip.
I heard about Inktip sometime last year and tried it out. I have had mild success, if such a concept actually exists in this industry! A few producers did request to read my script but bear in mind, it’s their junior assistants that generally have a peek at the script and feed it through the system. It’s especially frustrating when you know that you have a great script but you get the feeling that someone is just reading 3 or 4 pages before tossing it. Also, please keep in mind that some things are plain and simple. I’ve written an edgy script that has dramatic yet iconic pieces yet most producers these days are searching for feel good stories that appeal to the masses! The genre is key.
Currently, i’m liaising with a producer that seems interested. I have my fingers crossed!!
I was the Director of Development for an indi film production company for about 1 year. During that time I produced 3 feature films, all for the SciFi network.
When it came time to get ready to pitch new ideas to the network, in addition to my own, the CEO always directed me to InkTip for one reason: Go steal some story ideas.
I don’t think InkTip and other similar sites are worth a cent. They are designed with one purpose in mind: To scam aspiring artists out of money with the empty promises they will make it big. Can you say Casting Couch?
In my experience, if you have a good story that is well written, and you live in 818, 323, 310, and a few of the other surrounding area codes, you won’t have a probem getting noticed.
On more than one occasion I’ve seen people leave their scripts in the toilet stall at expensive resturants only be be called a few days later and signed by an agent or manager… I would much rather leave my work in the toilet at the right place than put it online.
After reading all of the messages, I’ve come to the conclusion that you need an agent and that is the bottom line. Now, where do I start looking for them? Thank you………
After reading all of these messages, I agree we need an agent. How do you find an agent? And I’m worried. I sent two of my screenplays to two different producers at Inktip.com, and I’ve never heard back from them, after, “This is a fascinating story, isn’t it! I think we’ve finally found the screenwriter we’re looking for. Blah, blah, blah.”
And no Responde vu…
What’s a penniless poet to do???
RSVP, purty pwese..
Thanks much!
I just came across this site and was impressed with the intelligent comments, all of you made on the business. You also seem like honest people and I almmost want to write my High-Concept Log Line and get a feedback from you… too tired however… 4:00 am, maybe next time. Wish a good luck to all of you. Boyan
Just came across this site. Can anyone tell me anything about the Writers Literacy Agency? They have offered contracts but seem suspect.
The only person making any money on InkTip is Jerrol LaBaron. He is a nice guy living off of the hope$ of the wannabees. I had scripts on his site for two years. It took me that long to figure out it was a waste of money… yeah, guess I’m slow. An interesting note about InkTip is; when your membership is about to expire guess what happens? You get inquiries!!! Amazing is it not. Your script can sit on InkTip for six months with only a handful of views and then, just before it is time to re-up, Producers begin to view your work? Another interesting note is; it is the same small group of Producers looking at your work. I finally decided to hell with it. InkTip is an empty inkwell.
hello, i am 17 years old student. I live in jaisalmer(india). my writting story skills was come out in 8th class.I have hightek,enimation films or amezing storyes.I can write story on american,chines, mexican and rusion’s viewers thoughts.I can write anyone remake story’s fact. my storyes are original. I do not kwant to sales my storyes. i want only work with you. but myknowladge kin english is little.
but my friend are know english and you contect with me on my id or phone no.
please sent me your contect no.
and my id is lekhu.bhai@gmail.com
and phone no. is 9649307050
I’m a screenwriter from the midwest and recently signed a representation contract with a very reputable L.A. management company that gets films made and thought I’d briefly share how I did it and my experiences since I’ve used many of the sites discussed here.
First is some thoughts on script pimp. They are well named in that the pimp gets the money, the ho gets nothing but an occassional itchy feeling. I signed up with them and then sent out about 80 queries to the contact list they provided and literally received NO RESPONSES. None. There’s all the reasons you should use them. None. They’re worthless. And NEVER spend your money on “professional coverage.” Paying someone else to tell you why your script is weak and how to fix it will forever rob you of learning that for yourself. It’s a skill you MUST posess. Buy a book like “Story” by Robert McKee and learn why ALL scripts are weak or strong and how to make ALL of your scripts bulletproof. It’s 25 bucks and is some of the best money you’ll ever spend.
As for zoetrope.com, while you risk your ideas being out uncontrolled in the market place, you also get the benefit of writer-to-writer feedback that can be helpful when you’ve just become “too close” to your material. Plus, you only risk your ideas being stolen and sold by someone else if they can write a better script than you. My experience is the ratio of very good or exceptional writers on zoetrope is about the same as the market place in general. I have read a few exceptional scripts there and I have read many, MANY absolutely atrocious scripts.
On to InkTip. While I have not yet optioned a screenplay there, I have had many big production companies and studios read my work and enough legitimate deals have been made there to say it’s a resource with a higher value than most like companies. If you’re a writer who simply cannot seem to get an agent or manager to sign you or even read your stuff (and it took me almost seven years just to get signed) then this is better than nothing. But you have to realize you are at the tail end of a giant machine.
My experience is they are essentially a “third tier” company. The first tier would be the studios or networks who can greenlight your project directly. The second would be REPUTABLE agents, managers, or production companies who can consistently get your project to those first tier companies, or partner with them to get your project made. Finding out who’s reputable is as easy as getting the WGA list of agents or checking out the production companies on imbd. The third tier would be sites like inktip and query services like sellascript.com, etc. The goal is to be in with the first tier, of course. But they don’t take calls from strangers or anything unsolicited so a writer with no contacts or prospects might well have to enter at the third tier and that’s exactly what I did.
But I did my research first. I picked a genre I was really inspired to write in and then watched every big movie recently made in that genre. I then found as many of those scripts online as possible and studied how the top writers imparted their vision onto the page and what kind of writing actually sold. I then wrote a first draft and let trusted writers I knew as well the folks on zoetrope critique it and offer feedback that made it much stronger. I re-wrote it and gave it back to those trusted writer friends. I re-wrote it again and only when I was sure it was BULLETPROOF did I spend the time and money to put it in with a query service that sends out loglines and a synopsis to those mostly second tier companies and agents/managers. My work paid off and I was immediately flooded with requests. Of the companies who read my script, one production company now wants to work with me to develop screenplays, and the management company recently signed me as a client where I am developing a screenplay with them as we speak. When it’s ready, it will go straight to all the tier one and two companies I had always hoped to get in to! But it’s the result of a lot of hard work and I’m still a long ways from “there.”
There can be value in sites like inktip or some of the others. Just make sure you’re bringing a top-notch script, a professional attitude, and that you are always striving to be the best writer you can. Eventually doors will open for you. I know it’s a long post, but hopefully it will help some folks who aren’t sure which way to turn. Good luck!
Midwest Writer –
Congratulations on your success thus far! Great post and nice to see the results of a solid and concerted effort. Thank you for providing your perspective and experience – I agree with your breakdown of the three tiers; this is a great way to look at it.
Thanks, you’ve given me a lot to think about. 🙂
I posted my emotional drama/sci-fi on inktip about three months ago and am in the process of selling it right now. The producer and I opted to sell instead of option, but seeing how this is my first script selling, I don’t mind. We’re currently looking at pre-production right now. I’m being brought in as a consultant for rewrites and as an associate producer. We’ll see how it all pans out. I still have my doubts about this solidifying into something. But that might just be my inability to think that I actually wrote something that substantial.
Thanks for the reviews, guys.
~John
Hi!
I am seriously considering producing a film
within the next twelve months.
I have written a Screenplay specifically tailored
to shoot on a comparatively low budget
$500,000 – $1,000,000
Now to the unbelievable part of this.
* I have never produced a film before.
HOWEVER…
* I have Directed – Theatre.
* I have 25+ Years as An Actor behind me.
40+ Film Performances Included In This.
* I have Access to Potential Cast/Crew with
whom I have previously worked.
Cast – Including A Few Well Known Faces.
Crew Members – Who I Know Are Extremely Capable
in Their Respective Areas Of Expertise.
* I have A Script which I believe is Marketable.
I already have A Trailer in mind as well as
Several Versions of Posters.
AND
* I have found A Potential Serious Investor.
Now, I have already forewarned him
that Investing In A Film Production is
Most Definitely One Of The Biggest Financial Risks
that Any Individual Could Make At Any Time,
Never Mind During The Current Financial Climate!
…And that there is No Guarantee that
The Final Product will Make Money Nor Is
There Any Guarantee That He Will Recoup
His Investment If He Goes Ahead.
I have been forthright in Advising him of this up front
and have explained to him that once the thing is set
in motion and people and services are hired and secured
that you can’t suddenly take cold feet.
Anyway, Even After All This He Still Wants To Invest.
So I Definitely Want To Go Ahead.
But I Also Want To Cover Myself Legally Too.
At The Moment I am Totally Strapped For Cash!
Broke In Fact! … In The Red!
So I am in A Difficult Position.
Is it feasible that I could
Negotiate A Producer/Writer Fee Up Front?
What in your estimation would be the
Minimum Fee given The Budget of $0.5M/$1M?
I do have A Friend/Producer Colleague who
I am sure will be able to advise me of the Various
Potential Pitfalls/Problems which I may encounter
a long the way.
Hopefully you can answer these questions and I would also be grateful for any additional advice which you
feel would be useful to me.
I look forward to your reply.
Best Regards,
MG
****************************************************************
Okay, I am a guy who’s listing is about to expire and I am not particularly interested in re-upping at this time. Maybe in the future or with a different “product.”
First of all log-line “views” are somewhat meaningless. Whenever your title/log-line says it is has been “viewed” what that actually means is that a company searching for a particular genre of film/screenplay pulled your log-line up with hundreds if not thousands of others in the record. This record could potentially be quite extensive and your listing waaay at the bottom.
This is why Inktip allows you to refresh your listing and bring it back to the top every few months until it is worked back down to the bottom (again).
I have personally had hundreds of log-line “views” but I consider it meaningless.
Only if I get a “script view”. Even a synopsis view counts for little if they do not download or request your actual script.
There has been word out that a number of producers on there actually surf for “ideas” which may explain why your cool concept get’s dozens upon dozens of synopsis reads but no one actually clicks on the script. I know, I know, Inktip will tell you that’s because your synopsis sucks — go back and fix it because Producers never actually read or buy scripts in Hollywood they just read synopsis’ and log-lines all … day … long … Scripts who needs them? …
As far as legitimacy the majority of the companies on Inktip are ground floor operations looking for horror or suspense films. And there’s nothing wrong with that. But don’t expect Warner Brothers or Disney to scoop up your next masterpiece on there. It’s somewhat of a novice venue on both sides.
Besides the fact that InkTip is useless, know that you’re also supporting the cult of Scientology.
Jerrol LeBaron is a longtime Scientologist who has given over $40,000 to the “church.”
http://www.truthaboutscientology.com/stats/by-name/j/jerrol-lebaron.html
Oh, and the comments that support InkTip? They’re from fellow Scientologists (it’s SOP for Scientologists to flood the internet with comments supporting one other).
Essentially, Lebaron has taken the Sceientology playbook and adapted it to the screenwriting market. And, just like Scientology, it offers very little benefit to the unfortunates souls who gladly empty their wallets for empty promises in return.
Stay away from InkTip!
My partner joined Inktip about six months or so ago and very little happened until about a month ago. We got our screenplay to a production company in Sweden who optioned us. We had an option on the table with a U.S. based prodco last year but it fell through at the end.
Just a user’s experience, fwiw.
–Greg
I AM A SCEENWRITER I HAVE WRITTEN AN IMPORTANT SCREENPLAY TITLE THE INVADERS OF DREAMS I AM LOOKING FOR A PRODUCER INTERSTING IN 3D FILMS PRODUCTION.
NAME DJAMEL JIJI
PHONE 00213795083149
EMAIL djamel_amar@yahoo.fr
Checkout my award winning film ONE BAD MICE for FREE. Go to http://www.spike.com and search for ONE BAD MICE FILM (88 min. )
Our production company T.A.D. Film Inc., based out of Toronto, Canada is presently looking for feature film scripts to allocate our ready funding and financing towards. We are looking for scripts that meet all three of the following criteria:
1.- Starring a young male, 18-27 years old
2.- Genre either; Drama, Thriller, Psychological thriller…
3.- Can be shot low budget
We are interested in scripts that tell compelling stories with gritty, well-developed central characters. Think PRECIOUS, WINTERS BONE, FROZEN RIVER or in the general direction of films that do well at Sundance. The best script with a true starring vehicle for a young male will be financed and set into production.
For consideration, respond with a brief summary of the project.
garen@garenboyajian.com
I have used InkTip for about a year. I have had two positive comments from a producer in Canada and one in the USA. “Words like I thoroughly enjoyed this script treatment…” etc. Both scripts have been read by professional, WGA writers and a film writer/professor in CA, and found to be solid. The scripts are character driven and incorporate action, as well. The topics within the stories deal with Freud, Hitler, and the issues of Islamic nuclear terror. In addition, I have a script about the horrors of not fixing the health care system in the US and the coming plagues.
I have had some success with the stage theatre. I had one play read by The Public Theatre in NY, the Goodman Theatre in Chicago, and the Mark Taper Forum in LA. The play was given an authorized reading in NY City by actors. I am now revising the play. Another play was also given solid readings. Revising that play, as well. I was wondering if such “successes” are beneficial when trying to contact a top-flight agency and how does one make that case? Many good agencies state they will accept inquiries about representation, but you hardly ever hear back. I have written about 6 screenplays and five plays. I am currently working on a novel and editing a screenplay.
I agree with most comments about such sites as Trigger Street where everyone has access to your script.
Hi, There is a message for new writers at the end of this message. But first, I’ve extracted some quotes that seem relevent to new writers and to this industry;
“% of screenplays that are unproducible = 99.9%”
“… have a a top-notch script, a professional attitude… ”
“…When it came time to get ready to pitch new ideas to the network, in addition to my own, the CEO always directed me to InkTip for one reason: Go steal some story ideas.”
“… The goal is to be in with the first tier (Studios), of course. But they don’t take calls from strangers or anything unsolicited so a writer with no contacts or prospects might well have to enter at the third tier (the InkTips of this world) and that’s exactly what I did.”
“… I’ve written an edgy script that has dramatic yet iconic pieces yet most producers these days are searching for feel good stories that appeal to the masses! The genre is key.”
“… And NEVER spend your money on “professional coverage.” Paying someone else to tell you why your script is weak and how to fix it will forever rob you of learning that for yourself. It’s a skill you MUST posess. Buy a book like “Story” by Robert McKee and learn why ALL scripts are weak or strong and how to make ALL of your scripts bulletproof. It’s 25 bucks and is some of the best money you’ll ever spend….)
Without wishing to offend, my message to NEW screenplay writer’s is this – your story concept may be awful and your first draft is definitely rubbish. I know this from my own and other writers’ experience and from the blogs on this and other such sites. DO NOT SEND your first draft anywhere. First Drafts are CLOGGING the system for writers who have taken the time to study story structure and dynamic dialogue, spent years reading already-produced screenplays, attending workshops and lectures, even to the point of reading and editing other writers’ work. They deserve better than to be “pitched in” with writers of first bloody drafts. For the time being, STOP WRITING. First Learn, Read, Research, know that a writer’s life is Redrafting.
“Persistence is the essence of genius.” (Einstein)
“The first draft of anything is sh..!” (Hemingway)
Keith F
Having read through most of the comments on this page, I’ve come to the conclusion that I have a better chance of getting my screenplay picked up by a producer or an agent if I first turn it into a novel. I’ve written (and rewritten) two or three screenplays that I think are especially strong on drama, dialogue and character, but going by the risks involved in using InkTip (or any online system), you’re better off, one, playing the lottery, and two, avoiding the predators out there looking for an easy steal. Damn shame … because years of effort go into becoming even a halfway good writer. There ought to be an organization that writers of proven ability and talent (maybe a published novel could be one criterion, or some short stories) could join and that would be used exclusively by professional Hollywood types looking for quality material. I’m all for stricter standards. It would eliminate the wannabees who haven’t yet paid their dues.
@Pat there is an organization. The Writer’s Guild of America.
Agents are also used to screen out wannabes.
Not everyone is looking to write high quality material.
There is a niche for people looking to write and sell barely passable crap like basically any of those Sy Fy original movies like Megashark.
I actually enjoy those movies because they are so cheesy but the writing is awful.
Also don’t listen to people that tell you to read other screenplays over and over or use that book Story by Robert McKee. There is no magic formula like that book teaches.
You pick up enough screenwriting from watching films.
It’s writing that’s the most important thing, the practice.
Write a draft and then write another one and then go back to the first scrip and rewrite it, you need to have a new script ready to start.
It’s always good to distance yourself from the draft for at least a week or so if you can so you forget it and read it with fresh eyes.