An option is renting a script to a producer. It's just like renting an apartment - but you
are the landlord. Someone pays you an agreed upon amount for an agreed upon time -
then they move in. They have temporary ownership of your script. While that script is
under option it is not yours - you can't sell it, you can't show it to other producers, you
can't complain about what the producer does with it. The script isn't yours for as long as
the option lasts.
The purpose of an option is to "rent" the rights to a producer so that he can take the
script to a studio or other financial source to obtain funding. Producers usually do not
have any money of their own and MUST go to studios or financial sources to get the
money to pay you for the script. In the old days a producer on a studio lot had
"discretionary funds" to buy scripts on their own. The studio would give them a
allowance to buy scripts with... but in today's economy a producer is lucky to get office
space out of a studio. Producers have to submit scripts to the studio the same way we
submit scripts to the producers... then cross their fingers and hope the studio wants to
buy the script. If a studio passes, the producer can take it to another studio or even an
outside financial source (unless they have an exclusive with one studio - then it's dead).
An independent producer may have contacts at various studios or with several outside
funding source and they need to "shop" the script until they find someone willing to fund
the film. The producer needs to option the script to prevent the studio from
circumventing them and cutting them out of the deal. If the producer owns the script
(even if it's just a rental) the studio or third party financial source has to deal with them.
An option is not some sort of booby prize - it is a step in the purchase of a script. Most
option agreements spell out the purchase price of the script - it's all about buying the
script! You'll want to make sure that purchase price is on a sliding scale by film budget.
On TREACHEROUS my option deal was designed for a low budget theatrical, but when
the producer set it up at Hemdale (TERMINATOR) and stars signed on, the budget
quadrupled but my pay rate stayed exactly the same. The director would have been
payed more with the new budget, but not the writer! I learned my lesson - from then on
my contracts have been set up so that my pay goes up when the budget goes up. This
is stuff your lawyer will deal with when the time comes - but you'll probably have to
remind them.
There is no average option time... but I always try to get the shortest period of time
possible. Usually four months (with another four months for twice the original option
money). The last thing I want is for a producer to have the project get turned down...
and still have MONTHS AND MONTHS left on the option. It'll be sitting on the
producer's shelf collecting dust... and dozens of other producers will then come out of
the woodwork and want to buy it from me... but I can't sell it because it's still under
option. That's what happens every time! A couple of years ago a producer optioned a
brand new script of mine for 6 months... and no sooner had I signed the contract than
three other producers called me asking about the script. The guy who optioned the
script couldn't get it off the ground, and I couldn't sell it to the other guys who were
interested. By the time the option period was over, the other companies were no longer
interested. If the option period had only been 4 months I might have been able to stall
the other companies until the rights reverted back to me. Keep the option period short!
Another method is to limit the studios or financial sources that the producer can go to -
this is called a "shopping agreement". This can either be used in conjunction with a time
limit or without. My option contract on THE PRICE OF FEAR limited the producer to 10
networks and studios - they couldn't take the script to anyone else. That way I knew
who had read the script, and had many other places to take it after the option had
expired. The script hadn't been read by everyone in town (as it might have been under
an option based on time alone). Though I agreed not to market the script for the four
month period of the option, and never to market it to their 10 companies. If one of those
10 companies later expressed an interest in the script, the producer had to be part of
the deal (even if the four months was up). Basically, the producer "rented" my script
forever for those 10 companies. One of the companies on the list was TBS - who
wanted to make the film. My lawyer and their lawyer put together a deal... which fell
apart when NBC announced they were going to make the same true story. I got my
script back - and I can sell it to anyone in the world except those ten companies on the
list.
Under WGA rules "Shopping Agreements" may be granted without compensation - but
the writer is in the driver's seat, here. If a producer claims poverty but loves your script,
you might decide to allow them to take it to ONE studio for whatever they can afford...
and maybe even come up with an escalating deal for each subsequent company they
go to ($50 the first company, $100 for the second, $150 for the third, $200 for the
fourth). According to WGA rules a producer can not shop a script to a company without
permission from the writer. These rules don't apply to non-signatory companies, but
contracts do - so get your agreement in writing!
There's a tip in rotation that talks about free options... have you ever found an apartment building
where rent was free? There is no standard option amount - everything is negotiable...
but Writer's Guild has minimums that signatory companies must adhere to - no less
than 10% of the WGA minimum for each option period up to 18 months. That makes
$5,848 for 18 months the minimum option. This doesn't apply to non-signatory
companies, but you want to be paid a fair amount for giving up ownership of your script
for a couple of months. 1% - 1/2% of the (lowest) purchase price per month is probably
fair... so you'll end up with at least a couple of hundred dollars for four months even on
a dirt cheap low budget film. A normal low budget film will probably pay you at least
$750 for a 4 month option.
If you option your script for 4 months, you want to make it renewable for another 4
months... but at about twice the price. Why? You want to create an incentive for the
producer to get off their butts and get to work. If they know it will cost them more money
the longer they take to get your project off the ground, they're gonna get a move on!
Again - all of this is negotiable. You may option your script for half a percent of the
purchase price for the first 4 months and 1% per month for the next 4 months... and
maybe even create a third option period for 2% per month. Producers understand
money, so you want to create financial penalties for foot-dragging.
How much any company pays gives you a pretty good idea of what they think your
script is worth - back in the late 80s my TREASURE HUNTER script was optioned for
$5,000 for 4 months. If someone offers you a free option or a $1 option they probably
don't care enough about the script to spend much time trying to find financing. You're
better off setting up a VERY limited shopping agreement in that case.
The purpose of an option ISN'T to tie up material, it's to "rent" a script for a limited
period of time so that a producer can take it to a studio or third party financial source.
It's a step in the purchase of the script... not a destination.
Contained Thrillers like "Buried"? Serial Protagonists like "Place Beyond The Pines"? Multiple Connecting Stories like "Pulp Fiction"? Same Story Multiple Times like "Run, Lola, Run"?
HITCHCOCK DID IT FIRST!
This book focuses on 18 of Hitchcock's 52 films with wild cinema and story experiments which paved the way for modern films. Almost one hundred different experiments that you may think are recent cinema or story inventions... but some date back to Hitchcock's *silent* films! We'll examine these experiments and how they work. Great for film makers, screenwriters, film fans, producers and directors.
FIND A GREAT IDEA!
*** YOUR IDEA MACHINE ***
Expanded version with more ways to find great ideas! Your screenplay is going to begin with an idea. There are good ideas and bad ideas and commercial ideas and personal ideas. But where do you find ideas in the first place? This handbook explores different methods for finding or generating ideas, and combining those ideas into concepts that sell. The Idea Bank, Fifteen Places To Find Ideas, Good Ideas And Bad Ideas, Ideas From Locations And Elements, Keeping Track Of Your Ideas, Idea Theft - What Can You Do? Weird Ways To Connect Ideas, Combing Ideas To Create Concepts, High Concepts - What Are They? Creating The Killer Concept, Substitution - Lion Tamers & Hitmen, Creating Blockbuster Concepts, Magnification And The Matrix, Conflict Within Concept, Concepts With Visual Conflict, Avoiding Episodic Concepts, much more! Print version is 48 pages, Kindle version is over 175 pages!
Only $4.99 - Kindle Version
FIGURE OUT YOUR STORY!
*** OUTLINES & THE THEMATIC ***
Your story is like a road trip... but where are you going? What's the best route to get there? What are the best sights to see along the way? Just as you plan a vacation instead of just jump in the car and start driving, it's a good idea to plan your story. An artist does sketches before breaking out the oils, so why shouldn't a writer do the same? This Blue Book looks at various outlining methods used by professional screenwriters like Wesley Strick, Paul Schrader, John August, and others... as well as a guest chapter on novel outlines. Plus a whole section on the Thematic Method of generating scenes and characters and other elements that will be part of your outline. The three stages of writing are: Pre-writing, Writing, and Rewriting... this book looks at that first stage and how to use it to improve your screenplays and novels.
Only $4.99 - Kindle Version
GOT STRUCTURE?!
*** STRUCTURING YOUR STORY ***
William Goldman says the most important single element of any screenplay is structure. It’s the skeleton under the flesh and blood of your story. Without it, you have a spineless, formless, mess... a slug! How do you make sure your structure is strong enough to support your story? How do you prevent your story from becoming a slug? This Blue Book explores different types of popular structures from the basic three act structure to more obscure methods like leap-frogging. We also look at structure as a verb as well as a noun, and techniques for structuring your story for maximum emotional impact. Most of the other books just look at *structure* and ignore the art of *structuring* your story. Techniques to make your story a page turner... instead of a slug!
Only $4.99 - Kindle Version
STORY: WELL TOLD!
*** STORY: WELL TOLD ***
This book takes you step-by-step through the construction of a story... and how to tell a story well, why Story always starts with character... but ISN'T character, Breaking Your Story, Irony, Planting Information, Evolving Story, Leaving No Dramatic Stone Unturned, The Three Greek Unities, The Importance Of Stakes, The Thematic Method, and how to create personal stories with blockbuster potential. Ready to tell a story?
Print version was 48 pages, Kindle version is over 85,000 words - 251 pages!
Only $4.99 - Kindle Version
HOW DO I DO THAT?
*** 101 SCREENWRITING ANSWERS ***
New to screenwriting? You probably have questions! How do I get an Agent? How do I write a phone conversation?
Do I need a Mentor? What’s does VO and OC and OS mean? What is proper screenplay format?
Should I use a pen name? Do I need to movie to Hollywood? What’s the difference between a
Producer and a Production Manager, and which should I sell my script to? How do I write a Text Message?
Should I Copyright or WGA register my script? Can I Direct or Star? How do I write an Improvised scene?
Overcoming Writer’s Block? How do I write a Sex Scene? And many many more! This book has the answers to
the 101 Most Asked Questions from new screenwriters! Plus a Glossary of terms so that you can sound like a pro!
Everything you need to know to begin writing your screenplay!
Only $4.99 - Kindle Version
NO KINDLE REQUIRED! Get the *free* app (any device, except your Mr. Coffee) on the order page on Amazon!
START STRONG!
*** HOOK 'EM IN TEN ***
Your story doesn't get a second chance to make a great first impression, and this book shows you a
bunch of techniques on how to do that. From the 12 Basic Ways To Begin Your Story, to the 3 Stars Of
Your First Scene (at least one must be present) to World Building, Title Crawls, Backstory, Starting
Late, Teasers and Pre Title Sequences, Establishing Theme & Motifs (using GODFATHER PART 2), Five Critical
Elements, Setting Up The Rest Of The Story (with GODFATHER), and much more! With hundreds of examples
ranging from Oscar winners to classic films like CASABLANCA to some of my produced films (because
I know exactly why I wrote the scripts that way). Biggest Blue Book yet!
Print version was 48 pages, Kindle version is over 100,000 words - 312 pages!
Only $4.99 - Kindle Version
MOVIES ARE CHARACTERS!
*** CREATING STRONG PROTAGONISTS ***
Expanded version with more ways to create interesting protagonists! A step-by-step guide to creating "take charge" protagonists. Screenplays are about characters in conflict... characters in emotional turmoil... Strong three dimensional protagonists who can find solutions to their problems in 110 pages. But how do you create characters like this? How do you turn words into flesh and blood? Character issues, Knowing Who Is The Boss, Tapping into YOUR fears, The Naked Character, Pulp Friction, Man With A Plan, Character Arcs, Avoiding Cliche People, Deep Characterization, Problem Protagonists, 12 Ways To Create Likable Protagonists (even if they are criminals), Active vs. Reactive, The Third Dimension In Character, Relationships, Ensemble Scripts, and much, much more. Print version is 48 pages, Kindle version is once again around 205 pages!
ONLY $4.99 - Kindle Version
I WRITE PICTURES!
*** VISUAL STORYTELLING *** - For Kindle! (exclusive)
Show Don't Tell - but *how* do you do that? Here are techniques to tell stories visually! Using Oscar Winning Films and Oscar Nominated Films as our primary examples: from the first Best Picture Winner "Sunrise" (1927) to the Oscar Nominated "The Artist" (which takes place in 1927) with stops along the way Pixar's "Up" and Best Original Screenplay Winner "Breaking Away" (a small indie style drama - told visually) as well as "Witness" and other Oscar Winners as examples... plus RISE OF THE PLANET OF THE APES. Print version is 48 pages, Kindle version is over 200 pages!
ONLY $4.99 - Kindle Version
*** DESCRIPTION & VOICE ***
IS HALF OF YOUR STORY IN TROUBLE?
Most screenplays are about a 50/50 split between dialogue and description - which means your description is just as important as your dialogue. It just gets less press because the audience never sees it, the same reason why screenwriters get less press than movie stars. But your story will never get to the audience until readers and development executives read your script... so it is a very important factor. Until the movie is made the screenplay is the movie and must be just as exciting as the movie. So how do you make your screenplay exciting to read? Description is important in a novel as well, and the “audience” does read it... how do we write riveting description?
Only $4.99 Kindle version
PRO DIALOGUE TECHNIQUES!
*** DIALOGUE SECRETS ***
Expanded version with more ways to create interesting dialogue! How to remove bad dialogue (and what *is* bad dialogue), First Hand Dialogue, Awful Exposition, Realism, 50 Professional Dialogue Techniques you can use *today*, Subtext, Subtitles, Humor, Sizzling Banter, *Anti-Dialogue*, Speeches, and more. Tools you can use to make your dialogue sizzle! Special sections that use dialogue examples from movies as diverse as "Bringing Up Baby", "Psycho", "Double Indemnity", "Notorious", the Oscar nominated "You Can Count On Me", "His Girl Friday", and many more! Print version is 48 pages, Kindle version is over 175 pages!
Only $4.99 - Kindle Version
NO KINDLE REQUIRED! Get the *free* app (any device, except your Mr. Coffee) on the order page on Amazon!
WHAT IS A SCENE?
*** SCENE SECRETS ***
What is a scene and how many you will need? The difference between scenes and sluglines. Put your scenes on trial for their lives! Using "Jaws" we'll look at beats within a scene. Scene DNA. Creating set pieces and high concept scenes. A famous director talks about creating memorable scenes. 12 ways to create new scenes. Creating unexpected scenes. Use dramatic tension to supercharge your scenes. Plants and payoffs in scenes. Plus transitions and buttons and the all important "flow"... and more! Over 65,000 words! Print version was 48 pages, Kindle version is around 210 pages!
Only $4.99 - Kindle version
SUBPLOTS?
*** SUPPORTING CHARACTER SECRETS ***
Expanded version with more techniques to flesh out your Supporting Characters and make them individuals. Using the hit movie BRIDESMAIDS as well as other comedies like THE HANGOVER and TED and HIGH FIDELITY and
40 YEAR OLD VIRGIN and many other examples we look at ways to make your Supporting Characters come alive on the page.
Print version was 48 pages, Kindle version is around 170 pages!
ONLY $4.99 - Kindle version
ACT TWO SOLUTIONS!
*** ACT TWO SECRETS ***
Expanded version with more techniques to help you through the desert of Act Two! Subjects Include: What Is Act Two? Inside Moves, The 2 Ps: Purpose & Pacing, The 4Ds: Dilemma, Denial, Drama and Decision, Momentum, the Two Act Twos, Subplot Prisms, Deadlines, Drive, Levels Of Conflict, Escalation, When Act Two Begins and When Act Two Ends, Scene Order, Bite Sized Pieces, Common Act Two Issues, Plot Devices For Act Two, and dozens of others. Over 67,000 words (that’s well over 200 pages) of tools and techniques to get you through the desert of Act Two alive!
Print version was 48 pages, Kindle version is well over 200 pages!
ONLY $4.99 - Kindle version
Can You Make It bigger?
***BLOCKBUSTERS (and BEACH READS) ***
Thinking about writing a big Disaster Movie? An Historical Epic? An Epic Adventure Film? Or maybe you like Gladiator Movies? This book looks at writing Blockbusters and those Big Fat Beach Read novels - anything epic! Usng movies like JAWS, POSEIDON ADVENTURE, LAWRENCE OF ARABIA, THE GUNS OF NAVARONE, and those MARVEL and FAST & FURIOUS flicks as examples. What *is* a Blockbuster? 107 years of Blockbuster history! Blockbuster Characters. Blockbuster Story Types! Why modern Blockbusters are soap operas! Social Issues in Blcokbusters? Big Emotions! Keeping All Of Those Characters Distinctive! How to avoid the Big problems found in Big Movies and books! More! If you are writing a Big Event Movie or a Big Fat Novel, there are tips and techniques to help you!
ONLY $4.99 - Kindle Version
NO KINDLE REQUIRED! Get the *free* app (any device, except your Mr. Coffee) on the order page on Amazon!
All About Rewrites!
*** REWRITES Blue Book! ***
When You Finish Your Screenplay Or Novel...
The Rewrites Begin!
The end is just the beginning! You’ve finished your story, but now the rewriting begins! This 405 page book
shows you how to rewrite your screenplay or novel to perfection. Everything from Character Consistency to
Shoeboxing to How To Give And Receive Notes to 15 Solutions If Your Script’s Too Long! and 15 Solutions
If Your Script’s Too Short! to Finding The Cause Of A Story Problem to Good Notes Vs. Bad Notes to Finding
Beta Readers to Avoiding Predictability to Learning To Be Objective About Your Work to Script Killer Notes and
Notes From Idiots to Production Rewrites and What The Page Colors Mean? and a Complete Rewrite Checklist!
The complete book on Rewriting Your Story!
Only $4.99 - Kindle Version
Want To Look Like An Expert?
*** RESEARCH & WORLD BUILDING BUILDING! ***
Using movie examples like TOP GUN, HUNT FOR RED OCTOBER, BLUE CRUSH, ADVENTURE LAND, several of my produced films,
JOHN WICK, the novels of Donald E. Westlake and Thomas B. Dewey, SPY KIDS, the LORD OF THE RINGS movies, SOYLENT GREEN
(which takes place in the far off future of 2022), and many others we will look at researching stories and creating worlds.
The 8 Types Of Research, the 10 Types Of Information To Look For, 12 Important Elements Of World Building. Plus chapters on How
To Rob A Bank and Commit Murder And Get Away With It for those of you interested in crime fiction, and Researching The Future
for those writing science fiction, and Levels Of Reality if you are writing about a version of the real world.
Only $4.99 - Kindle Version
All About LOGLINES, TREATMENTS, and PITCHING!
*** LOGLINES, TREATMENTS, and PITCHING! ***
You have written a brilliant 110 page screenplay, but how do you get anyone to read it? You need to distill
it down into some form of verbal moonshine or story rocket fuel that will ignite that bored development executive
or manager or agent and get them to request your screenplay. But how do you shrink those 110 pages into a 25
word logline or a 2 minute elevator pitch or a one page synopsis or a short paragraph? This 100,000 word book
shows you how! Everything you need to know! From common logline mistakes (and how to solve them) to how
your pitch can reveal story problems to the 4 types of pitches!
ONLY $4.99! - Kindle version.
READY TO BREAK IN?
*** BREAKING IN BLUE BOOK ***
Should really be called the BUSINESS BLUE BOOK because it covers almost everything you will need to
know for your screenwriting career: from thinking like a producer and learning to speak their language,
to query letters and finding a manager or agent, to making connections (at home and in Hollywood) and
networking, to the different kinds of meetings you are will have at Studios, to the difference between
a producer and a studio, to landing an assignment at that meeting and what is required of you when you
are working under contract, to contracts and options and lawyers and... when to run from a deal!
Information you can use *now* to move your career forward! It's all here in the Biggest Blue Book yet!
Only $4.99 - Kindle version.
