Recommended Screenwriters
How to Query Production Companies and Sell Your Screenplay
- May 1, 2010
- Posted by: HalCroasmun
- Category: Articles
If you want to sell your screenplay, production companies may be your best bet. And one way to get to them is screenplay query letters. But there’s a problem…
Over the last year, we’ve received about 200 query letters and have found some to be inspiring, some to be shocking and some caused us to laugh out loud — unintentionally.
Believe it or not, I’ve had emails sent to me from four different screenwriters who used this approach:
>Hi Hal,
>
>I’m desperate to get my script read. What do I need
>to do to get my script into your hands?
>
>John
I’m sure that writer would like to get their script read, but they forgot to use their writing skill to write an amazing query letter. If anything gives you credibility, it is the quality of your writing.
Following the steps in this article can assist you in increasing your chances of getting your script requested and ultimately sell your screenplay.
What’s It Take to Sell Your Screenplay Through Query Letters?
First, a disclaimer. Many production companies don’t accept query letters; especially the big ones. But sending query letters, whether through snail mail or an email service that blasts out to 500 companies, is a numbers game. If you have a strong concept and a well written query letter, you’ll get your script in the door to some production companies. Then, it is up to the quality of your screenplay to sell it.
Second, an important word that should describe your marketing materials…
Lure: Anything that entices, tempts, or attracts with the promise of gaining a pleasure or reward. Bait.
Here’s a word you don’t want associated with your query:
Repellent: Causing distaste or aversion; repulsive.
You want your query letter to attract, not repel. Here are a few “Do’s” and “Don’ts” for the three parts of a good query letter, which are:
1. The logline
2. The synopsis
3. Your bio
The key to each of these is to show the marketability of your script without saying the words “It is marketable because…”
It is a lot easier to sell your screenplay when the reader instantly gets what is most special about it and what makes it marketable.
ON LOGLINES:
1. DO write your logline or concept in a way that creates as much interest as you can.
DON’T write it as a “Poster line.” A line like “Three minutes from death. What do you do?” could describe a scene in a thousand stories. It works fine to start out a synopsis, but not as the logline.
2. DO give away the story. DON’T be vague.
This one is important. Too many loglines go like this:
“A confused bride returns to her hometown to resolve the biggest issue in her life — how she got married.”
That’s a great opening line for a query letter because it hooks us. But as a logline, it is vague and leaves us confused.
Usually, this happens either because the writer is trying to maintain some sense of mystery about what happens in the story. But it has the opposite effect. It causes anyone in the business to think you can’t tell a story.
When I took my first job in a production company, I was told to toss loglines like that in the trash.
My advice: Give away the best part in the logline.
“An attorney wakes up to discover she’s married to a redneck she can’t remember and must gather evidence that her new inlaws drugged her, but changes her mind when she falls in love with her husband’s brother.”
Don’t worry about whether that is a great story or not. Just notice that you know what the story is about. Do you see that? So a producer knows you know how to tell a story. That is important.
3. DO get to the essence. DON’T include needless details.
The logline needs to give us the story without a lot of details. In the logline above, notice that we haven’t included info about the character’s background, who the husband is, why she was drugged, why the in-laws want her married, or another thousand details.
WHAT GOES INTO A SYNOPSIS?
You have a few paragraphs to deliver all of this.
* Essence of the story.
* Main story line.
* Main conflict.
* Imply beginning, middle, and end.
* Characters that will appeal to stars.
DO tell it in the most compelling way you possibly can.
DO use emotionally loaded words that deliver depth of experience to the reader.
DO give us some lead characters that A-list actors will want to play.
DON’T give any details that aren’t appealing or intriguing.
WHAT GOES INTO A BIO?
Your bio goes at the end of the letter and presents credibility for why you are the perfect person to write this story.
DO tell about any contests you’ve won or placed in.
DO tell if you’re already a produced writer.
DO tell about any unique skills or background you have that qualifies you to tell this story.
Example for a gambling movie:
“Besides winning two Nevada Screenwriting Contests, I’m a three-time finalist at the World Championships of Poker held in Las Vegas.”
In one sentence, we discover two reasons why this writer could be the perfect writer of a script on gambling — contest wins and inside knowledge of the poker industry. Do that and you have a better chance you’ll get a call or maybe even sell your screenplay.
DON’T do any of the following:
* say you’re desperate.
* beg
* say anything crazy
* tell about the bills you have
* say you’re going to quit screenwriting if we don’t buy your script.
* tell us about your masters degree or PhD unless it pertains to the story or it is in screenwriting.
Remember, the whole purpose of a query letter is to get the script requested so you can sell your screenplay. The more you present yourself as someone who is attractive to do business with, the more successful you’ll be.
—————
WHAT TO DO?
Do that and you’ll increase your chance to sell your screenplay dramatically.
And if you want another way to increase your chances dramatically, take a look at our “ProSeries Screenwriting Class.” Many of the alumni have already gotten work in the industry – check it out here!