Sell That Damn Screenplay

With fewer screenplays been sold than ever, it’s vital that you perfect your marketing strategy to boost your chances of scoring that coveted sale. And make sure you are writing and pitching the “right” screenplays ie. that serve the marketplace.


Whether you are pitching a logline, query letter or face to face, all pitches must elicit an intended visceral emotional response. You must convey your enthusiasm for your project, so the pitchee can, in turn, pitch to their superiors. It is an intimate relationship between a creative executive and yourself, bridging creativity and commerce. Pitches need to be simple, clear and memorable.

The aim of pitches is to establish a relationship with the executive and getting them to read your script. It’s not so much what you write, but how you make them feel about you as a writer and about your writing.

Pitches are more effective if they contain a HOOK to seduce, shock, intrigue, titillate, amuse, interest or mind melt. Either way, it must elicit the desired response. It forces the pitchee to participate in the story by wanting more.


Either e-queries or via snail mail. Almost everyone uses email these days. However, if you send a hard copy of your query, it can’t be deleted.

  • Make them 4-5 paragraphs at most. No longer than one page.
  • Avoid synopses. Sell the passion.
  • Make them dynamic and compelling.
  • Add any relevant life experience or qualifications such as fighting in Iraq or being an astronaut.
  • E-queries are much shorter and contain little more than a logline and an invitation to read the script.


These are performances rather than statements. Be animated. Hold secrets as long as possible to create tension and mood.

Never refuse to give the ending. You can’t bait an executive that way. You repel them instead.


Must convey the kinetic energy of your script; short sharp for action, slower for drama, tense for thriller and funny for comedy. They must carry your concept forward to entice them to read it. Loglines normally carry these components:

start with a verb in present tense – introduces the main character and the world

  • Inciting incident – introduces the conflict and antagonist
  • Flaw – builds the character
  • Outer journey of the protagonist – builds the plot
  • Inner journey of the protagonist – character arc
  • Crisis/ Conflict and Realization – ending

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For in depth Film & TV script analysis visit Script Firm.


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