Loglines, synopsis & screenplays

About ten years ago, I asked my then agent to read a screenplay from a friend. I rarely do this as most of the screenplays I get from friends are not really very good. I'm not talking about professional writer friends, of which I have very few, but of friends who aspire to write.

This particular friend had written a very good screenplay and I wanted to pass it along to my agent for possible representation. My agent said these following words, which tells you two things;  how the business was handled 10 years ago and how it's handled now.

He said this; "I know how hard it is for a writer to write a full screenplay, so the least I could do is read the first 3 pages."

The first 3 pages?

A few weeks ago I saw a listing on InkTip where a production company was looking for a screenplay that explained everything one needs to know about a blockbuster script. All in one sentence.

And if  you couldn't describe the actors, storyline, arc, genre, action beats and a few more things, then don't bother sending anything.

First of all, this indicates the type of producer you're dealing with, someone who thinks he/she will find the new William Goldman within that wide sea of wannabe writers. And there are a lot of them on InkTip. And judging from my own experience at UCLA for 2 and a  half years, 90% of them are lacking any ability whatsoever.

But the interesting part is this;  a long time ago in a place called Hollywood, it worked like this;  A new writer would have a good screenplay that he could show around to any agent or producer who would listen. If it was good writing, the writer would probably get an agent.

The agent in turn would say to the writer that it might take 6 months to a year to get the writer known in town. Then the agent would pass the writer's screenplay to a handful of producers who would give him honest opinions without prejudice, meaning it wouldn't harm the agent's street creds if they didn't like the screenplay.

If producers liked the script, they'd set up a meet 'n greet wherein the writer gets to go on the studio lot and talk with the development executive. Sometimes the top dog of that studio or company might "conveniently" drop by to say hi.

In that meeting, the writer would get his chance to pitch ideas. Sometimes they worked, sometimes not. Sometimes, like in my case, they got writing assignments.

But the point here is this; the executives read the full screenplay. Not a logline or synopsis. The entire 100 plus pages.

The most recent screenplay I wrote was finished two months ago and I thought it was pretty good. I've mentioned it, Christmas Carole, and I showed it to the agent who read the full screenplay and said he loved it. He really loved it.

In that same week, he passed the screenplay along to two major players in town. They read the screenplay within a day and said they loved it too. But as you may remember, they didn't like the cat.

No loglines or synopsis.

They read it.

What's the difference? Well, from past experience, I've learned that writers aren't always good at everything about writing. Some write great pitches but their screenplays aren't always good. Other writers, like me, are awful at pitches, but our writing is almost always good. A rare few can do both well.

Since then, two other producers have read the Christmas screenplay... without a logline or synopsis. Then, a new producer asked for a 1 pg synopsis.

I said read the script.

He said he didn't have time.

I said to call when he did have time.

Okay, you're saying that Jim is an arrogant jerk. I'm not. What I've learned through the years and have reflected on this blog is this; if someone isn't going to take the time to read your screenplay, they probably aren't going to like it.

In other words your 1 pg synopsis is more of a reason to turn you down. And I write awful synopsis' because it isn't writing, it's explaining what you wrote. I wish I was as good as those writers who do both, but I'm not.

And what these producers are saying is that I'm only as good as the worst writer they've ever encountered. I'm being relegated to the masses, all those wannabes out there are on the same level of playing field as me.

Which means 30 years of writing doesn't mean a thing.

But I don't really give a damn. Because the good producers, the ones who are sincere (or as sincere as a producer can be) will read my screenplays.


So there.

Blog 8: Screenwriting -- The development process

One of the most dreaded processes in a writer's life, at least for me, is the development "phase". It can be inspiring and a delight, or it can be pure hell. I once worked with a "D-Girl" (a term for a Development executive, most often a woman) called Amy, whose nickname was "the anti-Christ". And she lived up to her reputation as she would go out of her way to demean and attack you. 

On the other hand I once worked with a woman who had drinking issues among other flaws, including foul language that still amazes me, but she gave me a set of the best notes I have ever had, I still keep them. Development is generally dreaded because it means the producer or production company or studio has read the screenplay and now wants to add their input. Some might say they paid for it so they can rip it apart. I think it's the fact that they can't write and just want to punish me for being able to write.  Regardless, it's the next stage of development of a movie and it can be hell. 

John Levoff who was head of drama at Paramount/UPN always used to start the meeting with me by saying "Page 1", meaning that notes were on every page of a 110 page screenplay. It's like you have been sentenced to life. But John was a smart exec and this was just his way of joking and making me comfortable. He'd have suggestions for maybe a dozen pages and not hard to do at all. I enjoyed working with him and Steve White, the producer, both had ideas and both gave me freedom to disagree. 

What makes this stage hard sometimes, besides the particular exec or producer, is that I arrogantly think that no word need be changed.  And that's where it gets hard. A good note will surprisingly inspire you, they do come up with good ideas. A bad note can turn your stomach as you try to figure out how to change a script set in a barren landscape to a lush, green countryside with brilliant yellow canola crops. This actually happened on Riddler's Moon. And I did find a way. But ultimately you find a way of compromising, although sometimes through grueling arguments and even fights.  

Remember that producer I threw the phone book at? 

Back in 1990, I wrote a screenplay called Cardinal Sins, based on a story I had about teen abuse at a Catholic adoption home (my Catholic guilt story) in just over two weeks with my producer Dick Lowry. We sat in a hotel until it was finished and then the first draft was handed to the Assistant Director who broke it down to shooting days and they began filming 3 days later. 

Not a word was changed, except for the occasional actor's changing a line to suit them better, which normally happens. 

No development phase. No D-people. It can be done. Not that I would recommend it, we had no choice as we had to shoot the film before the end of December and it was now December 1st. But I saw it a few months ago and you know what... it still works. But that's an anomoly, and Travel Day is no exception.  Since I'm the producer, the notes and changes will come mostly from the director.

And you'll meet her soon.