The Hollywood Market
(A Script Doctor's In-site)
"What market am I writing for?"
Most professionals ask themselves this question before beginning a piece of fiction. If a writer's intent is to garner an income . . . then a specific market needs to be targeted.
What follows are some general "in-sights" into the screenplay market. And, although this advice is mainly for screenwriters, it can also be used to sell the film rights to a story.
First, let's define the three basic markets for a 2-hour movie. A screenwriter can write a screenplay for: (1) a low-budget, independent production (e.g., SLACKER); (2) a television movie (THE LATE SHIFT); or (3) a big-budget theatrical release (TITANIC).
Now, on a fundamental level, the script format used for each of these markets does not vary, in that the "single-camera" shooting style is employed by all three. In other words, when writing a 2-hour spec script, there's no variance in the margins, dialogue settings, or slug lines.
So, on a cosmetic level, a screenwriter can use the exact same software for each market.
Next, it should be noted that comprehending which market a particular story is most compatible with can be as important as proper format. Indeed, this "targeting of market" should be decided upon before the first draft is actually written. By focusing on the intended marketplace, a screenwriter will be able to weave into the plot-line the specific "selling points" per the requirements of each market.
"Sellin' points? We don't need no sellin' points!"
"Au contraire."
Selling points should be woven into a story's plot-line since a producer will flatly reject a screenplay if it doesn't have the potential for making a profit. Moviemaking is a business; and, like any other business, there has to be a positive cash flow in order to keep the investors happy.
Ergo, if one is writing a low-budget, non-studio production . . . then a "hot" selling point would be a compelling narrative which can be shot on a shoestring budget (i.e., micro-funding = small cast; no special effects; no stunts; no complex locations).
In other words --> if a writer has a propensity for obscure, art-house-style stories . . . then this no-budget production mode is, for the most part, the only venue available. Also, it should be noted that this bare-bones filmmaking has an extremely narrow audience demographic, in that the ticket buyers for these no-budget films are, for the most part, college-educated anti-establishment types.
Whereas, with an MOW, the exact opposite is true. For a network to green light a screenplay, the screenwriter must be listed on the network's "approved list" -- which means that the writer has to have demonstrated a proclivity for following broadcast standards. Plus, when writing an MOW, a tight shooting schedule must be factored into the storytelling equation . . . since these productions are also low-budget vehicles.
So, if a writer enjoys writing conformist storylines which appeal to a wide audience (an audience which is predominately female per the network demographics) . . . then the MOW is the appropriate market to write for.
And finally, we come to the 2-hour jackpot -- i.e., the big-budget theatrical movie. Here, the studios control the market, and it's a market which is primarily driven by "the bottom line." In a general context, the studios want to produce movies which will attract the 14- to 24-year-old demographic -- since this age group tends to buy the most tickets.
Specifically --> studios prefer plot-lines which appeal to young males. Again, this is a marketing decision . . . and it's based upon the "dating theory" which states: The male usually picks the movie when a couple goes out on a date.
Thus, the big-budget theatrical market is extremely commercial, and if a screenwriter's goal is to be a "player" in this high-stakes game . . . then he or she must be able to design stories which have studio-friendly selling points.
So -> there it is.
Think demographics.
< (c) 1999 > ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Click on --> "Writing the Hollywood Story."
"What market am I writing for?"
Most professionals ask themselves this question before beginning a piece of fiction. If a writer's intent is to garner an income . . . then a specific market needs to be targeted.
What follows are some general "in-sights" into the screenplay market. And, although this advice is mainly for screenwriters, it can also be used to sell the film rights to a story.
First, let's define the three basic markets for a 2-hour movie. A screenwriter can write a screenplay for: (1) a low-budget, independent production (e.g., SLACKER); (2) a television movie (THE LATE SHIFT); or (3) a big-budget theatrical release (TITANIC).
Now, on a fundamental level, the script format used for each of these markets does not vary, in that the "single-camera" shooting style is employed by all three. In other words, when writing a 2-hour spec script, there's no variance in the margins, dialogue settings, or slug lines.
So, on a cosmetic level, a screenwriter can use the exact same software for each market.
Next, it should be noted that comprehending which market a particular story is most compatible with can be as important as proper format. Indeed, this "targeting of market" should be decided upon before the first draft is actually written. By focusing on the intended marketplace, a screenwriter will be able to weave into the plot-line the specific "selling points" per the requirements of each market.
"Sellin' points? We don't need no sellin' points!"
"Au contraire."
Selling points should be woven into a story's plot-line since a producer will flatly reject a screenplay if it doesn't have the potential for making a profit. Moviemaking is a business; and, like any other business, there has to be a positive cash flow in order to keep the investors happy.
Ergo, if one is writing a low-budget, non-studio production . . . then a "hot" selling point would be a compelling narrative which can be shot on a shoestring budget (i.e., micro-funding = small cast; no special effects; no stunts; no complex locations).
In other words --> if a writer has a propensity for obscure, art-house-style stories . . . then this no-budget production mode is, for the most part, the only venue available. Also, it should be noted that this bare-bones filmmaking has an extremely narrow audience demographic, in that the ticket buyers for these no-budget films are, for the most part, college-educated anti-establishment types.
Whereas, with an MOW, the exact opposite is true. For a network to green light a screenplay, the screenwriter must be listed on the network's "approved list" -- which means that the writer has to have demonstrated a proclivity for following broadcast standards. Plus, when writing an MOW, a tight shooting schedule must be factored into the storytelling equation . . . since these productions are also low-budget vehicles.
So, if a writer enjoys writing conformist storylines which appeal to a wide audience (an audience which is predominately female per the network demographics) . . . then the MOW is the appropriate market to write for.
And finally, we come to the 2-hour jackpot -- i.e., the big-budget theatrical movie. Here, the studios control the market, and it's a market which is primarily driven by "the bottom line." In a general context, the studios want to produce movies which will attract the 14- to 24-year-old demographic -- since this age group tends to buy the most tickets.
Specifically --> studios prefer plot-lines which appeal to young males. Again, this is a marketing decision . . . and it's based upon the "dating theory" which states: The male usually picks the movie when a couple goes out on a date.
Thus, the big-budget theatrical market is extremely commercial, and if a screenwriter's goal is to be a "player" in this high-stakes game . . . then he or she must be able to design stories which have studio-friendly selling points.
So -> there it is.
Think demographics.
< (c) 1999 > ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Click on --> "Writing the Hollywood Story."
| ||
|
