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E-raamat: Screenwriting for Profit: Writing for the Global Marketplace [Taylor & Francis e-raamat]

(Electrical Science, Inc., Rye Brook, NY, USA)
  • Formaat: 200 pages
  • Ilmumisaeg: 09-Jun-2017
  • Kirjastus: Routledge
  • ISBN-13: 9781315668659
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  • Taylor & Francis e-raamat
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Screenwriting for Profit: Writing for the Global MarketplaceSuurem pilt
  • Formaat: 200 pages
  • Ilmumisaeg: 09-Jun-2017
  • Kirjastus: Routledge
  • ISBN-13: 9781315668659
Teised raamatud teemal:
Taylor & Francis e-raamatudRohkem infot Taylor & Francis e-raamatute kohta
Raamatu kodulehekülg: https://www.taylorfrancis.com/books/9781315668659

Screenwriting for Profit uniquely teaches and illustrates how global trends define the screenplay marketplace, from dictating current saleable trends to determining specific subject matter, genre, and story elements that will succeed in key international territories. Veteran producer Andrew Stevens shares his decades of experience producing and financing everything from mirco-budget films to studio blockbusters, and gives you the insider edge you need to write for the global marketplace. By leveraging Steven’s comprehensive experience, you will learn how to make the most of international sales trends, identify the critical story elements for your market, and harness the power of these insider strategies to craft a screenplay that is poised to sell.

Introduction xii
Prologue xv
1 Critical Criteria Before Determining Your Subject Matter 1(10)
Understanding the Global Marketplace
1(1)
Shelf Life
2(1)
Studio Films
2(1)
Distribution Costs
3(1)
Independent Films
3(1)
Understanding Sales Agents
4(1)
Sales Agents' Responsibility to Buyers
5(1)
How Films Are Bought and Sold
5(1)
Film Markets
5(1)
Film Festivals
6(1)
Term
7(1)
Rights
7(1)
Territory
7(1)
Buyers
8(1)
How Sales Are Documented
8(1)
Sales Agents' Contracts
8(1)
Buyers' Reps
8(1)
Producers' Reps
8(1)
North America
9(1)
Market Value Is Critical for Screenwriters to Understand
9(1)
The Market-Savvy Screenwriter
10(1)
Other Ways of Gathering Trending Information
10(1)
2 The Independent Film and Television Alliance and the American Film Market: Services and Opportunities That Benefit Screenwriters 11(7)
Legal Contracts
12(1)
Global Research and Tracking
12(1)
Advocacy Efforts
12(1)
The American Film Market Seminars and Conferences
13(1)
Financing
13(1)
AFM-Pitch Me Your Script
13(1)
Benefits of Attending Film Markets
14(1)
A Writer's Goal While Attending the AFM
14(1)
Get in Touch With the Marketplace
15(1)
How to Navigate the AFM
16(1)
The American Film Market and Connections for Screenwriters
17(1)
3 The Cannes Film Market and Festival 18(7)
Juries
18(2)
Selection Classifications
20(1)
Events
20(1)
Where Film Sales Happen
21(1)
Pre-Sale Marketing
22(3)
4 Writing for the Marketplace 25(12)
Trends + Analysis = Profit
25(1)
The Necessity of Developing Screenplays
26(1)
Key Territories and Associated Challenges
26(1)
Second Level of Sell
27(1)
Know Before You Write
27(1)
Understanding Territorial Desires and Why
27(2)
Genre Beats and Running Times
29(1)
An Example of Developing a Script Based on Market Desires
29(1)
A Catchy Title
30(1)
Working With the Department of Defense
30(1)
Development Recap
31(1)
The Creative Challenge
32(1)
Writer Wannabes vs. Career Professionals
32(1)
Anomalies
33(1)
Buyer and Sellers: Screenwriters Are Sellers
33(1)
The Creative Process in the Real World
34(1)
The Cognizant Writer
35(2)
5 Building a Career-Everyone Starts Somewhere 37(8)
Study the Market and Ask Questions
37(1)
Pay Attention to What Is Selling
38(1)
Success Breeds Success
39(1)
Apply What You Learn
39(1)
Pre-Determined Profit
39(1)
The Market Often Dictates Stop), Structure
40(2)
Organic Integration and Running Time
42(1)
Importance of the Second Level of Sell in Multiple Genres
43(2)
6 Historical Context of the Recent Evolution of Media Gives Writers Perspective 45(9)
Directors as Well as Writers Need Market Awareness
46(1)
The Trend Shifted and New Media Emerged
47(1)
The Historical Evolution of Audio-Visual Media
48(1)
Filmmaking and Emerging Media
48(1)
New Media and Distribution Platforms
49(1)
Marketing Challenges in New Media
49(1)
Attracting Distribution
50(1)
Star Name Recognition Helps
51(1)
Writers Should Be Aware of the Fiscal Realities of Distribution
51(1)
Visual Concepts
51(1)
Sales Campaigns
51(1)
Marketing via Digital Platforms
52(1)
Niche Marketing-Identifying the Target Audience for Your Story
53(1)
Building Awareness for Your Film
53(1)
7 Screenplay Structure and Components 54(8)
Three-Act Structure
54(1)
Act Structure for Television Films
55(1)
The Syd Field Paradigm
55(1)
The Prologue
56(1)
Entrance and Exit of Major Characters
57(1)
Scenes
57(1)
Word of Mouth Scenes
58(1)
Memorable Lines
59(1)
Plant and Pay-Off
60(1)
Exposition
61(1)
8 Inspiration, Sequels, Remakes, and Reboots 62(7)
Inspiration
62(2)
Draw From the World Around You
64(1)
Sequels
65(2)
Remakes
67(2)
9 Character Development From an Actor's Perspective 69(12)
Most Screenplays Lack Depth of Character
69(1)
Personalization
69(1)
Transference or Substitution and Sense Memories
70(1)
Synergy of Writers and Actors
71(1)
A Personalization Exercise for Writers
71(1)
An Example of an Actor's Backstory
72(4)
An Actor's Prep for a Television Pilot and Series
76(2)
An Example of an Actor's Timeline
78(2)
Preserving the Writer's Intent
80(1)
Some Actors With Power Have No Regard for a Writer's Words
80(1)
10 A Screenwriter's Perspective 81(8)
The World Before Final Draft
81(1)
Two Sample Writer's Character Breakdowns
81(4)
Examination of Character Breakdowns
85(1)
Archetypes
85(1)
The Four Basic Archetypes
85(2)
Weaknesses, Needs, and Super Objectives
87(1)
Physical Description (Physiology)
87(1)
Sociology
88(1)
Psychology
88(1)
Use What Works for You
88(1)
11 A Director's Perspective 89(7)
The Writer/Director
89(1)
Criteria and Process of a Film Director
89(1)
Writers Rewritten
90(1)
It All Starts With the Script
91(1)
Directors' Preparation Techniques
92(2)
Suggested Criteria for Being a Successful Film Director
94(2)
12 A Producer's Perspective 96(6)
Assimilating How the Business Works
96(1)
Certain Writers for Certain Projects
97(1)
The Business Changes, but the Paradigm Remains the Same
98(1)
What a Producer Looks for in a Screenplay
98(1)
A Producer Isn't a Producer Without a Script
99(1)
An Example of a Malleable Writer
100(2)
13 Writing for Cost-Effective Budgets 102(14)
Night Exteriors
102(2)
Limit Locations and Company Moves
104(1)
Limit Speaking Roles
105(2)
Working With Minors
107(4)
Working With Animals
111(1)
Residuals
112(1)
An Example of When Theatrical Film Residuals Become Due for Various Media
113(1)
Reduce or Eliminate Distant Locations
113(1)
Reduce the Number of Shooting Days
114(1)
Rethink and Modify Costly Sequences
114(1)
Recap
115(1)
14 Financing 116(10)
Equity Financing
116(1)
Self-Financing
116(1)
Bank Financing
117(1)
Completion Guarantors
117(1)
Limited Partnerships
118(1)
Pitching a Deal to Equity Investors Is Like Pitching a Script
119(1)
Social Media and Crowdfunding
120(1)
Grants
121(2)
Subsidies
123(1)
Subsidies: Too Good to Be True?
124(1)
Multiple Source Financing
125(1)
15 Writing Is a Team Sport 126(8)
Content Is Dictated by the Coaches and Fans
126(1)
Literary Development
126(1)
Television Development
126(1)
Studio Development
127(1)
Independent Development
127(1)
Readers
127(1)
Post-Production Storytelling
128(1)
National Research Group
128(1)
Gathering Information From Demographic Groups
129(1)
Avoiding Major Competition
129(1)
Declining Audience Share
129(1)
The Tent Pole Danger Zone
130(1)
Calculating Audience Share
130(1)
Audiences Can Dictate Editorial Cuts of Films
130(1)
Current NRG Screening Challenges
131(2)
Altered Content
133(1)
16 Studio Due Diligence: How the Big Boys Cater to the Little Boys 134(5)
Comic-Con
134(2)
Millennials
136(3)
17 New Media-New Model-As Significant as the Majors 139(4)
Netflix
140(1)
Amazon Studios
140(1)
Amazon Prime
141(1)
Hulu and Hulu Plus
141(1)
YouTube
141(1)
YouTube Red
142(1)
18 Non-Union vs. Union Writers' Agreements 143(15)
Writing for Independent Companies
143(1)
Writers' Agreements
144(1)
Written Agreements Are Essential
145(1)
Union and Non-Union Rates
145(1)
WGA Low-Budget Rate Tiers and Fees
146(5)
Rewrites on Spec Scripts
151(1)
Restrictions, Obligations, and Penalties to a Producer or Production Company
151(1)
Revision of the Screenplay
152(1)
Initial Release in a Non-Theatrical Market
152(1)
Reports
153(1)
Cost Report
153(1)
Right to Audit
154(1)
Minimum Terms
154(1)
P&W Contributions and Residuals
154(1)
Practical Contrast of Union vs. Non-Union
155(1)
Union Overview From an Independent Perspective
156(2)
19 Writers' Protections 158(13)
Ideas vs. Stories
158(1)
WGA Registration
159(1)
Copyrights
159(1)
The Library of Congress
160(1)
Steps to Registering a Copyright
160(1)
Underlying Source Material
161(1)
Chain of Title
161(1)
Example of Chain of Title
162(9)
20 Non-Disclosure, Non-Circumvention, and Confidentiality Agreements 171(7)
Sample Non-Disclosure Agreement
171(2)
Non-Circumvention Agreements
173(1)
Sample Mutual Non-Circumvention, Confidentiality Agreement
173(5)
21 Screenplay Submissions 178(14)
Query Letters
178(1)
Steps fir Constructing a Query Letter
179(2)
Real Examples of Bad Query Letters
181(2)
Samples of Query Letters That Got My Attention
183(3)
What If I Don't Get a Response From My Query Letter?
186(1)
Alternatives to Query Letters
187(1)
Submission Release
187(1)
Sample Submission Release Form
188(2)
A Real Lift Illustration of Why Producers and Studios Protect Themselves From Litigation
190(2)
22 The Pitch 192
Personal Presentation
192(1)
Getting the Job: The 7 Keys
193(6)
Recap
199
Andrew Stevens, author of Producing for Profit (Focal 2017), and the DVD/download film school series Foolproof Film School, has mastered almost every aspect of the entertainment business. From creative filmmaker, screenwriter, director, and producer, to corporate executive, leader in trade and union negotiations and collective bargaining, Stevens has guided the creative development and physical production of over 175 motion pictures, including the hit comedy The Whole Nine Yards and the cult classic Boondock Saints, and his films have generated over $1 billion in worldwide revenues. In his several successful motion picture companies, he has guided international film sales, domestic distribution, finance, publicity, and marketing. A former award-winning and Golden Globe-nominated actor, he continues to be active in the motion picture business as well as being an author, educator, motivational speaker, and industry consultant. He served for a decade on the board of directors of the International Film and Television Alliance (IFTA) and also served as chairman of the Independent Producers Association (IPA).
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