Links

( 2 Paid Readers) = $50 Coverage = logline, formatting, plot, character, style, 1-10 score, from Reddit / CCrev and jdoyle56 ( https://goo.gl/yVXwj6 )

Blacklist Coverage = https://blcklst.com/help/category/12

WeScreenplay Coverage = wescreenplay.com ($70-$200)

The Screenplay Mechanic = http://www.screenplaymechanic.com/ ($60-$400)

Script Gal = http://www.scriptgal.com/ ( $125-$400)

Selling Your Screenplay Coverage = http://www.sellingyourscreenplay.com/script-consultant/ ($90-$164)

Coverage Videos

2017 A Script So Good The Only Question Is, How Much Will It Sell For? by Corey Mandell (6 min) https://goo.gl/Jtw9KF

The Page Awards = https://pageawards.com/ ( $79-$250)

Screenwriting Terms = https://goo.gl/Z9eaHm

Screenwriters Earn

The A-List Aristocrat Writer - $650,000 to $ many millions per year.
The Middle Class Writer - $150,000 - $650,000 a year.
The Blue Collar Writer - $1000 - $150,000 a year
The “No Collar” Writer - $0 a year.For more screenwriting video tutorials, check out SCRIPTFELLA on You Tube http://youtube.com/c/Scriptfella

Videos

2013 How To Format A Screenplay ( 6 min ) = t.ly/25Jv

2018 10 Pgs of The Devil Wears Prada ( 10 min) = https://www.youtube.com/watch?v=-WgzNFEu61o

Beginnings: Setting a Story in Motion ( 8 min) = https://www.youtube.com/watch?v=XTyV8xcTAFo

Endings: The Good, the Bad, and the Insanely Great Video (90 min) = https://www.youtube.com/watch?v=gWHfsEJ5JJo

Download Screenplay PDF by Syd Field ( 338 Pgs - wait 10 seconds to start ) = t.ly/IOU6Y

Showrunners

https://johnwellsproductions.com/showrunners-corner/

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How to get your script to Netflix & Hollywood – An actual roadmap

GIVING ADVICE

I’ve been seeing the following situation more and more: An aspiring screenwriter decides to finally do something about their dream. So, they hop on a random screenwriting group they haven’t fully read yet, and post a variation of this question: “How do I submit / pitch / talk to Netflix?”

What follows is usually a barrage of snarky, sarcastic and many times super-mean comments that instantly teach that aspiring writer the same life lesson that comes from sticking a fork into an electrical outlet.

I thought it might be a good idea to make a dedicated post with an actual answer I’ve been giving that explains a roadmap and the logic behind it all.

FINAL DESTINATION ON THE MAP

First of all, know this: If you have a super awesome idea and/or script and the first thought that pops into your mind is “Netflix” … then that means your instincts are right.

One should be pitching to studios, streamers, networks and production companies with deals. After all, they are the ones who have the money and make the stuff and get it out to the world. But the problem is that there are at least over a million people with that same thought (for example, number of people on this sub.) The numbers are just daunting.

In light of all this competition, some people become so desperate and divorced from common sense that they've resorted to some insane tactics to "get into the room." There are stories of high-speed chases on the 405 in LA of an aspiring screenwriter trying to catch up and “toss” a physical script or USB drive into the window of a producer they’ve spotted. That's why Hollywood has been a siege-proof, security-guards-at-the-gates, closed-shop bunker for a long time.

But for the actual serious people with viable projects, there is a way. It's all part of a natural way of doing business that has evolved over time. There are rules and a hierarchy that has to be followed.

THE RULES OF THE GAME

The most basic rule is that you usually need a proven team and a package of talent attached to your screenplay in order to pitch to the studios/streamers/networks/etc. This team can include a producer with a track record, a known director, an A-List actor, etc. In other words, the studio needs to have all these people on board before they even schedule any meeting with the writer. Some producers are so well regarded that they are awarded what is know as a "first look deal." All this means is that this specific producer gets top priority in being able to present projects to the studio. But a "yes" is usually not guaranteed.

So, should you be submitting to these people?

The problem is that these A-level people also get besieged by the hordes. Unless you have a preexisting relationship with one of them, you’ll need someone else to vouch for both you and your screenplay.

MANAGERS & AGENTS

A known manager or agent can be this person. They can vouch for both you and your screenplay by representing you. But these managers themselves get besieged by the hordes. Therefore, they in turn also look for signs that someone farther down the line is vouching for both you and your work.

LABS & FELLOWSHIPS

Labs and fellowships are a great way to get that accomplished, because it means not only did you write something noteworthy, but you also were able to work through the program and complete it. Some well regarded ones for the fellowships are HBO, NBC, Universal, Nicholl, etc. On the lab front: Sundance, Black List Feature or Episodic Lab, Berlinale Talents, etc. For a complete list see bottom of post.

But of course labs and fellowships themselves look for someone even more farther down the line to vouch for your work, because -- you guessed it -- they themselves get besieged with thousands of applications. This is why they ask for bios and personal statements.

“TOP” COMPETITIONS

This is where certain contests come into play. It’s a great talking point to be able to include a few choice placements in your bio, personal statement and query letters. They figure if your script somehow managed to rise to the top from a pile of 14,000 screenplays which are read by the least qualified, unpaid volunteer, amateur peer writers, like in the case of Austin Film Festival, then maybe there’s something to it. But maybe not.

But this takes time. It’s about a half-year cycle to go from submission to finding out if your script survived the first round of 14,000 entries red-light / green-light machine gun free-for-all. Twitter right now is filled with the notes people got back from those reads. It’s depressing.

THE BLACK LIST SITE

This is where the Black List site (blcklst.com) comes in. They employ actual paid assistants from within the industry who work at top companies and agencies. You can look them up on LinkedIn. While every read might not be perfect, overall, they offer the most trusted assessment from any service. If you get a score of 8 or more, then that means that individual reader is vouching for your screenplay. If you get at least five separate readers to give you an 8 or higher, then that means the Black List itself will vouch for your screenplay and send it around town.

NEVER TELL ME THE ODDS

But having said all this, it is a complete waste of time and money to send your material to any of the above places (Black List, Top Competitions, Labs, Fellowships) unless your screenplay is one of those that can rise on its own among 14,000 other ones. It has to be written in such a way that it's bullet-proof and outstanding in the truest sense of the word. It has to have an exceedingly high level of craft that usually only comes from years of writing experience.

Once you have it, then you can submit it to worthwhile places to get the ball rolling. Lauri Donahue (a Black List Feature Lab fellow) has the best list around of where to submit:

https://lauridonahue.com/resources/a-curated-list-of-the-most-worthwhile-screenwriting-fellowships-labs-and-contests/

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