From Issue 11, July 2003:

Book Extract:

The Script-Selling Game by Kathie Fong Yoneda

More info. or order book at Focal Press

From time to time ScriptWriter is able to publish an extract from a book before it is published in Europe. Kathie Yoneda’s book, The Script-Selling Game, gives a fascinating insight into how scripts are sold in Hollywood. This chapter is about the arcane terminology used by insiders considering a pitch for a movie by a writer.

While you’re attending a writer’s conference, a pitchfest or a film festival, perusing the trade papers or anticipating your first Hollywood meeting, you will likely become aware that there are a number of strange-sounding phrases and terms being bantered about.  These ‘buzz words’ are peppered throughout the conversations of industry-related personnel.  You know they’re speaking English, but what kind?  You are probably overhearing what is commonly called industry-speak. No, it’s not exactly a foreign language, but it is a language of terms that are common to people who are involved in the day-to-day running of the entertainment industry.

In order to help you fully understand what’s going on in Hollywood as well as keep you one step ahead of many other emerging writers, it’s wise if you have a working knowledge of some of these phrases and terms.  To better acquaint you with some of those terms and what they really mean, let’s follow a fictitious new screenwriting duo (we’ll call them Lauren and Joel), who are about to experience their first brush with success in Hollywood – let’s keep in mind that this could be you!

ONCE UPON A TIME – THE PRESENT

JOEL and LAUREN are attending a writer’s conference for their very first time.  They’re almost finished with their script, an exciting adventure project.  They feel the timing is right to give Hollywood a try.  Because they registered early at the conference, they’re given a coveted ten-minute appointment with a well-known Producer.

The Producer asks,  ‘So what’s the logline on your ‘spec’ and is it high concept or low concept?  Is it a theatrical film or is it more appropriate as an MOW?’

WHAT HE REALLY MEANS IS: ‘Give me an exciting one or two sentence summary (logline) on your script (written on ‘speculation’, without pay) and tell me if it’s commercial enough for mass audience appeal (high concept) or is it a more specialized, narrowly-focused movie that will have a more limited audience appeal (low concept)?’  The Producer also wants to know if the project being pitched is a traditional theatrical motion picture or a movie-of-the-week (MOW) meant for television or cable.

Joel and Lauren are prepared with their logline and proceed to pitch their story.  The Producer asks for clarification on the hero’s character arc. Lauren and Joel quickly explain how the main character transforms himself from an ordinary Joe into a courageous and resourceful hero who learns that victory isn’t about strength of body, but strength of inner resolve.  Now the Producer is clearly showing some interest and queries:  ‘So who’s getting story by and who’s getting written by credits?’

WHAT HE REALLY MEANS IS:  ‘What is the main character trying to achieve, not only physically, but emotionally or spiritually (character arc),’ and ‘did both of you come up with the story and are both of you writing the screenplay or did one of you come up with the story and the other is going to write the script?’  The Producer is merely trying to establish each person’s actual participation in this project.  ‘Story by’ simply means who came up with the basic storyline and main characters for the script.  ‘Written by’ simply means who is writing the actual script that is based on that story.   In addition to clarifying their credits on the screen, each person’s participation can often determine the actual division of monies, should a project be sold.

After determining that Joel came up with the storyline and both Joel and Lauren will be writing the script, the Producer asks:  ‘Are there any attachments? Are you registered with the Guild?’

WHAT’S ACTUALLY BEING ASKED:  Is there a director or actor/actress who has agreed to be in this project (attachment) if it is set-up with a distributor and/or financing is acquired?  The Producer also wants to know if Lauren and Joel have registered their material with Writers Guild of America which serves as the union representing screenwriters.

Lauren tells the Producer that there are no attachments to their project which is registered with the WGA.  Lauren would also like the opportunity to direct, to which the Producer comments,  ‘So you’re looking to become a hyphenate?’

WHAT HE REALLY MEANS IS:   ‘So you’re interested in becoming a writer-director?’  A Hyphenate is a person who receives more than one credit on the same project, such as a writer-producer or writer-director.  George Lucas of Star Wars fame is a hyphenate, as is Mel Gibson who served as an actor-producer-director for the Oscar-winning film Braveheart.

Joel quickly chimes in that he’s confident their project has the potential also to be turned into a television series if the movie is a success.  The Producer, sensing a possible franchise responds with, ‘Have you already written a pilot and bible?’

WHAT HE’S REALLY ASKING IS:  ‘Have you written the first introductory episode (pilot) as well as a detailed personality breakdown of the characters, how they relate to one another, the set-up of the series, and what ties them together (bible)?  A franchise is when a project can be spun-off and have more than one application (i.e. television series, video games, amusement park attraction/ride, a sequel, etc).

Unfortunately, Lauren and Joel have not written a pilot or bible for the aforementioned television series based on their project. The producer expresses his interest in the project as a film, but rather than wait for another month for them to finish writing the screenplay, he asks, ‘Have you written a treatment yet?’

WHAT HE’S REALLY ASKING FOR:  A treatment is generally a five to ten page document which will give the Producer all the major plot points and important details of the project, as well as an indication of the project’s general structure and character interactions.

Joel and Lauren just happen to have a treatment with them and hand it to the Producer after first asking for, then signing, a release form.

[The complete article is available in Issue 11 of the printed magazine.]

More info. or order book at Focal Press