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THREAD: I mentioned in my client signing thread that the topic of writers working on a spec with producers deserved its own thread on another day. Figured that today could be that day. In this thread, I'm going to talk about the advice I give my clients about this subject. 1/
Before I do so, I wanted to put a few notes in advance of the advice. The first is that these are my thoughts, based on my experiences and those of my clients. I'm simply trying to be helpful. Make your own decisions based on what is best for you, your script, and your career 2/
Next is that this advice is focused on up & coming writers, who don't have sales or credits yet. Established writers are in a different situation and have different options. Those writers also have lots of people they pay on commission to advise them on these situations. 3/
Finally, if you disagree with my thoughts, please don't invoke the Gods of Twitter by tagging them in to tell me how wrong I am. Simply reply with your thoughts and I'll reply back, so we can have a discussion. That's the best way Twitter works, I think. 4/
Why all the notes? Well, talking about things like these is more controversial than talking about happy things like signing writers. But I really do enjoy discussing this stuff, so I'm doing it in the vein of this @soulwax album... 5/
So here are my thoughts. To begin with, what I'm talking about here is STARTING to write a spec script from scratch. NOT rewriting an existing spec or attaching a producer to package with actors, directors, etc. This thread is about writing a brand new spec screenplay. 6/
That out of the way, my philosophy is quite simple: if the producers bring an original idea, article, book, short story, or piece of IP to the table and you love it, then it's worth doing. If it's your original idea, then there's no need to involve a producer at inception. 7/
If if it's your original idea, best to develop it yourself and keep it clean of any attachments. A "clean" script is always easier to sell. There are producers who are great at developing, but it can be hard to tell until you're far down the road. Always best to keep it clean 8/
Producers, to my mind, bring one of three things to a project: 1) The Money 2) The Talent (actors or directors) 3) The Material (book/article/short story/etc.) If not, then what is their value add to the project? 9/
If a producer does bring a piece of material to you that you love and want to spec, then it's imperative that you make sure they control it before you start working on it. That doesn't mean a "good relationship with the author" or even a shopping agreement... 10/
It means a signed option/purchase agreement on the underlying material. Not in negotiations or conversations. Signed. Option length should ideally be 18 months (enough time for you to write the script) with an optional extension for another 18 months (to shop the script.) 11/
The responsibility for negotiating that, paying for a lawyer to draft the agreement, and paying the option fee is on the producer, not you. They're bringing the underlying material to the table and those costs are part of it. 12/
On a recent short story adaptation, the producer's negotiations with the author fell apart, despite a prior relationship. The client hadn't started working on the script, at our insistence, and was very glad they hadn't, since the rights were now unavailable. 13/
Writing a script based on underlying material without the underlying material being under option is like building a house on land that you don't own. Not advisable whatsoever. 14/
On @infinitemov, @IanShorr didn't start working on the script until @EricMaikranz and myself (as I was producing) had completed an option agreement for Eric's book "The Reincarnationist Papers," which Ian adapted into INFINITE. 15/ https://www.amazon.com/Reincarnationist-Papers-memoir-account-Michaels/dp/160725977X
I should also note that this philosophy also applies to myself producing projects written by my clients. Simply put, if it's my idea (as in, an idea I bring to the table), then I produce. If not, I don't . 16/
In the case of INFINITE, I optioned and brought the underlying book to @IanShorr . @xosophialo and I are working on her next feature, which is based on an amazing true story I found and brought to Sophia to write. And so on, so forth. 17/
@ChrisThomasDev's COBWEB was his original idea and though @Jeff_Portnoy and I gave notes as it was developed into the spec screenplay that sold to Lionsgate, we're not producing. Those notes were simply part of our job as his manager. 18/
Every manager and management company has their own philosophy, but I find this is the one that best fits myself and my company. When someone asks me how I got involved in a project I'm producing, the answer is an easy one. I know very clearly how I added value to the project. 19/
That's the simplest way to sum up this thread. Before getting involved with a producer on writing a spec script, ask yourself "How do they add value?" If you don't know or the answer is a convoluted one, then it may be worth re-assessing. 20/
