Should I mention the script was optioned?
I had a script optioned for about 18 months, it has now fallen out of option and is back in my hands for further marketing.
My question is, when sending queries should I mention that this title was previously optioned? I don’t know how a production company or agent/manager might view this. Would it be a good thing because someone else thought the script had potential or a bad thing because they weren’t able to sell it?
– Mark Violi
New Jersey
You have two different audiences.
For agents and managers, absolutely mention that it had been optioned. Anything which shows that producers are interested in your work makes you more attractive as a potential client.
Producers and production companies aren’t necessarily going to be excited that someone else had the project before them. Yes, it validates their taste a bit, but they may worry that the script has already been burned out around town. If everyone has read it and passed, what are they going to do with it, exactly?
If someone asks, always be honest about the project’s history. But you don’t have to lead with that information.
Also, it’s legit (and common practice) to make a few changes to a script and put a new date on the cover. If you’re trying to shop a script that says 2007 on the title page, there will be natural questions about why it’s so old.
Filed under: Film Industry, QandA, Rights and Copyright
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February 18th, 2010 at 10:47 am
I might be given the chance to hand my script to an acting producer at the beginning of March. My script is currently read by a prodco from which I’ll probably hear by the mid/end of March. Should I tell the actor/producer that the script is currently being read by a particular prodco (because they could eventually share production costs etc.)?
February 18th, 2010 at 10:49 am
Great question! My first option was extended to two years, before finally coming back to me (still has a talent attachment). I’ve been making a habit of mentioning the previous option whenever talking with producers. Maybe I’ve been hurting myself!
Just signed an option on another screenplay, and am now figuring out next steps to leveraging two options on two screenplays into representation (anyone have any advice, I’ll take it). I’ll be sure to mention the previous with potential agencies, but maybe I’ll stop “leading with it” re producers.
Thanks for the advice, John!
February 18th, 2010 at 11:13 am
Cool tips! I agree 100%
February 18th, 2010 at 11:22 am
What about not putting a date altogether? Just ‘First Draft’ if anything and that’s that? I thought no date was a new normal for taking the babies on tour.
February 18th, 2010 at 11:32 am
An extension to the question:
Say you have multiple scripts (2 or 3), and one of them is still under option while you are seeking representation. Does the agent like the fact that one of your scripts is under option, or would he balk because someone else already has their hand in his cookie jar?
February 18th, 2010 at 12:16 pm
@Sarah:
No. Answer if asked.
@Martin:
I’m pro-date, simply because otherwise it’s impossible to know which draft is which.
@Mark:
Agents want writers who work. Having a script optioned indicates work, so yes, let them know.
February 18th, 2010 at 12:24 pm
@John Thanks.
What if the prodco likes to option/buy the script, but I haven’t heard from the actor, yet? Should I then tell the prodco that this particular actor owns a copy of my script and they could ask if he has an interest in a particular role?
February 18th, 2010 at 1:47 pm
See, that’s the kind of meat and potato advice that makes this site especially valuable.
(Not that I’m not interested in your assistants and lo-fi movies, but…)
February 18th, 2010 at 2:38 pm
“I’m pro-date, simply because otherwise it’s impossible to know which draft is which.” I’ve just been indicating v1.0, v3.5, etc on the cover, no date. Tracks the version, without aging it. Is this bad practice?
February 18th, 2010 at 3:12 pm
Yes, you’re right. Though if you do something to the title or 1st page that would ID it FYEO – but then if someone calls says sonso read it and how do you find out –? Forget it. Back to dating.
February 18th, 2010 at 5:37 pm
Chip Street — Nice call. – I’m gettin in your boat. – Except I’m gonna do it on the lower corner of the last page.
February 18th, 2010 at 7:43 pm
@Chip Street:
Creative solution. :)
But John has a point. A new date can make the script seem “fresh.” The agent won’t know how long you’ve been shopping around v3.5…
February 18th, 2010 at 7:51 pm
Chip Street – the issue with the numbering system is that it usually indicates what number of drafts you’re on.
If you give it to someone who sees V6.5, they might wonder why you’re sending out something that’s been through that many drafts (on the flip side, someone who see V1.2 might automatically think it’s gonna need work.)
Using the date system eliminates that potential fear. It’s the safer bet. :)
February 19th, 2010 at 2:42 am
Ummm… I’m pretty sure John didn’t say, “Date your script to make it look fresh.” lol. That’s a purely awesome theory though.
There’s no benefit to having a date on a spec. – Its all downside.
Look…
1) Fresh is whatever the prodco means it to be in that moment. You could drop in something you wrote 5 years ago and as long as you’re excited about the changes from yesterday – its fresh. And yet, completely frikin arbitrary.
2) If you think the fact that you CLEARLY wrote it last night means you’re not going to butcher it today… welcome to Happy Fun Surprise Land.
3) You have absolutely no control over when Jon Woo is going to find your script. – And trust me you don’t want a 6 year old “best if used by” date on it when he does.
A date can make your spec seem fresh…… for a week… maybe.
4) I have absolutely no interest in an agent or producer knowing how long I’ve had v3.5 in my pocket. That’s actually sorta the point. – Its why we have the term, “current draft”. – It gives you the power to actually lean across the table and go, “OMG! – How did you get that? This is the current draft. – I just needed to implement your ideas and then its set.” (<– Yes. I am whore-like. But I save puppies. And choose to believe that that cancels out my debt with Jesus, who I choose to believe really likes puppies.)
John actually HAS drafts. Real drafts with proceed to production clauses under them. Dates are necessary. But really… anybody who’s still benefiting from the principia de la ju-ju of a Script Doctor… —> Might want to reconsider the patented freshness indicator.
February 19th, 2010 at 10:28 am
@ Clementine,
(And I say this as a reader & a big supporter of people finding a fearless zen…)
At the point where you’re fearful or concerned about whether your reader would hypothetically prefer a 13th draft or a second draft… you have officially strayed and should go revisit how bad-ass your writing is.
At the point at which you’re actually handing a script to a real person who’s truthful belief about writing power is that “2nd drafts suck” or “13th drafts suck” and you’re HOPING to work for THEM, you have officially strayed and should, most definitely, go remind yourself how bad-ass your writing is.
People who are worthy of you know that 6th Sense took six years, Rocky took 3 months, and High Fidelity was done in hotel rooms in between shoots because John Cusack is a rockstar. Don’t just be worthy… choose people who are worthy of you. And your draft number wont ever be a thing.
February 19th, 2010 at 10:44 am
What I mean by that is: “A great script will allow you to choose people who aren’t bigots.” – If your script is so bad that the draft number killed it… you’re focusing on the wrong thing.
February 19th, 2010 at 11:13 am
@Synthian:
Isn’t John supposed to be the only one who gets attacked in the comments? :)
Actually, I said a date “can” make a script seem fresh, not that it always will. I’m sure others will concur that there are no hard and fast rules to the game.
I agree with your point about Woo. Putting a date on your script isn’t always the best thing to do.
Sorry for the rhyme.
Just to clarify: my previous post was responding to Chip Street’s question about acquiring representation. If you query an agent/agency, and they request your script, putting a date on it isn’t automatically a “bad” idea. If you got them excited by your query letter, they just might read it within a week.
Booya. It’s still fresh. :)
If feel the agent/assistant might not get to your script for a month or two, and you’re not on good enough terms where they will contact you to request the latest draft, sure, use “Current Draft” or a creative method a la Chip’s v3.5. Why not?
As for your last comment, I’m not going to defend all script doctors here. (I’m more of a script consultant, but that’s another story…) I’ll just say this: if you’re opposed to receiving advice on your work, it could be a long road ahead.
Now, back to attacking John. (Full Throttle, eh?)
February 19th, 2010 at 11:19 am
Sage advice, John. Just wish I could find those production companies that would option my script in the first place!
February 19th, 2010 at 12:41 pm
[quote]If you’re trying to shop a script that says 2007 on the title page, there will be natural questions about why it’s so old.[/quote]
Three years is “old” in Hollywood? Yikes! Well, with all the talk about rebooting Superman after the last movie was only made four years ago, I guess I shouldn’t be surprised that this is the statute of limitations on “old.”
February 19th, 2010 at 9:02 pm
@ Script Doctor Eric,
You’re right, sorry. Clearly John must be stopped. (pitchfork shake)
Now… lets give you your optimum scenario… you’re queried, they likey, you’re going to defeat Master-Blaster and be through reader-dome in less than 2 weeks. On Mrs. Agentson’s desk, & the world is your clam-bake. Now… what are the pros? (Accepting that I already went all Republican-National-Convention with the cons :) & we know Mrs. Agent understands her job enough to say, package artists for a living & make them look fresh as a career.) – If I’m getting you right, you want an agent, that knows about scripts perpetual evolution & knows there’s always a current draft… and so, you would date it – Becaaaause… that might be the straw that pushes you over the success line? I can’t imagine having that little faith in my writing. – I don’t even know what that’s like.
Assuming that claiming perpetual evolution is the default… what is the added benefit or virtue of imagining that the agent you’re going to have representing you can be glossed over by a number in the corner? :) I swear to God man, I am the LAST person to be attacking you, at least with John’s throw pillows & such. I’m honestly asking.
“I’m not going to defend all script doctors here. (I’m more of a script consultant, but that’s another story…) I’ll just say this: if you’re opposed to receiving advice on your work, it could be a long road ahead.”
Ok, I’ll admit, Script Doctor is a bold & hilarious phrase to me because anybody worthy of that kind of boldness has absolutely A) no time for my work, and B) no need for my money. – A all. – Anyone qualified to evaluate my script is already a millionaire &/or lives with me. And I’m not saying that its brilliant or even OK to write a script without external advice, (I respect the ju-ju) but to make the leap from, “I don’t want to pay for advice from people who can’t achieve the absolutely unprecedented commercial success that my mentors will give me en masse” – to – “If you’re opposed to receiving advice on your work, it could be a long road ahead” while on an advice column run by John August is just sort of the same thing as writing Pussy Magnet on your truck. Which I support. And we’ll probably make great friends. And I’ll pay you to ramp up an underlings script who’s not going to make it anyway… but really, Consulting: Its not for everybody… just people who need it.
February 19th, 2010 at 9:55 pm
John,
Good work on the blog lately. There really isn’t a place to say that but in a comment. Your New Year’s entry had me thinking you were in a Holiday funk (I find this to be the norm for myself as i get older).
But now you seem invigorated. A man with a purpose. I really don’t know how you have the time. I was once joked to a friend that you epitomize the “guy-with-his-act-together.” It is rare to find someone with both literary talent and a technical savvy for all things geek. I love that STNG was your first stab at writing. That makes you a kind of hero to me.
Anyways, you do us all a great service, and what’s more, you show that one can go the extra mile and contribute in addition to having a frenetic schedule.
And that leads me to a question. So much of screenwriting is about energy. Just the sheer energy to do it while balancing… you know.. life. Do you have any special insights into that subject?
Cheers, James
February 20th, 2010 at 6:14 am
I wish there was some way to keep a script from tracking. You kind of have to mention the former option to a new producer. They’re going to find out if it’s been around anyway.
February 21st, 2010 at 2:14 pm
Unless your script is currently in production, there’s no need to date or put a version on the front cover. Just a title and contact info will suffice.
February 22nd, 2010 at 5:14 am
About the date: Do I put a new date and make this version look like the first draft, or do I add a new date under the old?
It would look better to only have one date, but isn’t that a bit like hiding facts?
February 22nd, 2010 at 3:17 pm
Nope, Desiree, not hiding facts. Scripts evolve, but from the standpoint of a new reader, there’s only one draft, and that’s the one they’re reading. If it’s genius, they won’t care if it’s draft 1 or draft 99 (unless it’s been out all around town, but they can find that out simply by looking the script up by it’s title).
February 23rd, 2010 at 12:05 pm
Maybe I’ll start coding them for the name of the requesting prodco… “D” for Disney, “T” for Troma, etc. Then if it gets passed around, I can follow the trail. Might be interesting.