[spb_text_block pb_margin_bottom=”no” pb_border_bottom=”no” width=”1/1″ el_position=”first last”]

How Do You Know If Your Idea Can Sell?

By Jacob Krueger

[/spb_text_block] [divider type=”thin” text=”Go to top” full_width=”no” width=”1/1″ el_position=”first last”] [spb_text_block pb_margin_bottom=”no” pb_border_bottom=”no” width=”1/1″ el_position=”first last”]

The simple answer to this question: You don’t.

You don’t know if your idea can sell. Nobody does. Which means if your main concern is writing something that can sell, you are probably putting your focus in the wrong place as a writer.

I’m going to tell you a true story from my experience as a producer. I used to work for a huge deficit financing company. They produce Atom Egoyan’s movies. They produce Cronenberg’s movies. They produce a lot of movies.

It was common knowledge at this company, passed down through the ages from the forces on high, that an American audience, under no circumstances, would EVER watch a movie set in a foreign location without an American lead. How did they know this? They knew this because somebody high up at the company said this…

Of course this was before Slumdog Millionaire. It was before Crouching Tiger, Hidden Dragon.

Now, we were a deficit financier, which means we made our money selling the rights to our films in foreign countries. So, making movies set in foreign locales was very much up our alley and we got a lot of that stuff submitted to us.

But everyone believed that even though it was in our best interest to shoot those movies, it was impossible. They were convinced that no American audience would ever be interested in a foreign movie without an American main character.

And I can only imagine what the hundreds of screenwriters who wrote beautiful scripts, that got passed on by producers at our company must have thought:

“Wow, I really wrote a beautiful movie and I thought I got it to the right company and I guess maybe my idea wasn’t good enough. My idea didn’t sell. Maybe I’m not really a good writer. Maybe I don’t have what it takes.”

No, it wasn’t that they didn’t have what it takes. It was that producers at our company were operating under a false belief, passed down by on high at our particular company, which no writer had any way of knowing about!

They might have written a beautiful script. But they didn’t get a beautiful letter. They got a pass letter. The same letter everybody else got.

Well, one day Nicolas Cage decided that he wanted to shoot a movie in Italy. And his agent casually let slip a “very secret” rumor about what he wanted to do. And suddenly every producer in Hollywood, not just us, everybody, was digging through these old files, searching for movies set in Italy.

And suddenly nobody cared if there was an American main character any more. They’re like, “It stars a dog, can we turn the dog into Nicolas Cage?”

Producers at our company had passed on so many great screenplays over the past ten years! And I know, because I was the guy in our files looking at those screenplays. I was looking at screenplays that I’d never even read that had been passed on before I was even in the company. Screenplays that had been completely unsellable a day before, and were suddenly the hottest commodity in Hollywood.

The movie Nicholas Cage ended up making was not ours; he ended up making Captain Corelli’s Mandolin.

But think about that if you want to understand the futility of trying to anticipate whether your screenplay is going to be sellable on any given day.

If you want to understand Hollywood, just remember what high school was like. Imagine the most popular kids in high school, and remember how quickly the fads came in and out.

I remember Z Cavaricci pants. I remember them very strongly. If you’re in my age group, you know what Z Cavaricci pants are. They’re ridiculous looking pants and in second grade they were hugely popular. And I found out just a little too late and I worked on my mom and I begged her for these hundred dollar pants. And even though we were not rich, she finally bought me those pants. And I showed up to school in my Z Cavaricci pants only to find they were already out of style.

That’s Hollywood. What’s in style today is out of style tomorrow. And then back in style the next day! The only way that you can ‘time the market’ in Hollywood is to be a producer. Which means that you’re spending literally every day on the phone.

That’s what Producers do. Their job is to know what the fad was thirty seconds ago. And thirty seconds ago. And thirty seconds ago. They’re literally on the phone all day, finding out what everybody wants now, and now, and now, and now, and now.

All it takes is one bomb or one unexpected success and suddenly everything changes.

A small shift in the wind for Nicolas Cage and suddenly everything changes. 12 Years a Slave and suddenly everything changes. Dallas Buyers Club and suddenly everything changes. American Hustle and suddenly everything changes. We’re living in a very exciting time because the changes are going in the way of good writers.

Hollywood is like high school. The fads go in and out. If you don’t like which way the wind is blowing, wait ten minutes. It’ll blow in a different direction. And that’s why you never know if your idea is good enough to sell. Because “good enough to sell” depends on the fates matching up: that you get your “right script” in front of the “right person” at the “right time” when the winds are blowing in your direction. The only way that you can do that is by getting lucky.

At the same time, there’s some good news. You don’t need your movie to sell because that’s not how careers are built anymore.

It used to be that careers were built off of huge spec script sales. In the ’80’s and ’90’s that’s how it worked. You sold a spec script, you made a ton of money, and suddenly you had a career. And a lot of people are still teaching this because a lot of the people who were teaching were writing in the ’80’s and ’90’s. But that’s not how this works anymore. The Indie world it still works that way (just without the big money). If you’re in Indie film it’s still all about the script.

But in Hollywood it’s no longer about that. It’s about something called Transmedia.

Transmedia refers to films like Transformers, where you’re actually making a movie based on a toy. It’s used to sell toys and video games and lunch boxes and happy meals. These are the projects that are in vogue right now in Hollywood. Even The Lego Movie, which is a great movie, is based upon a product.

Now, as I mentioned, there’s a counter-current happening with these little Indie films and with Hollywood “Indie” films designed to win Oscars.. If you’re that kind of filmmaker then you can still sell a spec script. Come up with a new idea that breaks the mold, rather than following the formula. Because that’s what Indie film producers are looking for.

But most of what’s happening in Hollywood now is not about spec script sales. It’s about writers being hired in to write projects that originated with producers.

Most of what Hollywood producers are buying are called “properties”. They’re Transmedia projects based upon toys, video games, comic books, novels, true life stories and other elements with an existing, built in audience.

To get hired to write these projects, you do have to have some pretty amazing spec scripts. But you don’t need those spec scripts to sell! Or even to be sellable in the current market.

Instead you need your spec script to be so good, so unique, and so demanding of a producers’ attention, that after reading it, the producer can say, “Man, I wish I could make this movie. Maybe I should hire this great young talent to write The Hungry Hungry Hippos movie.”

Now, I’m being a little sarcastic. Not every idea that a Producer has is a bad idea. Producers option great books and they need writers to adapt them. Producers come up with brilliant ideas and they need writers to write them.

The Wolf of Wall Street was a book. Which means someone bought that book, In this case it was Leonardo DiCaprio and Martin Scorcese. To make that book into a movie they have to hire a writer to write it.

So even if they didn’t buy your spec script, if they loved your spec script they might call you and say, “You know what? We’d like you to adapt The Wolf of Wall Street. We’re not making the film you came to us with, we’re making The Wolf of Wall Street. but we need a writer and we liked your script.

And this is good news for you. Because it means whether you want to be an indie filmmaker or a Hollywood screenwriter, your goal is the same: not to write a screenplay that can sell, but to write the screenplay in your heart. The one that only you can write, which shows off your true voice as a writer.

Because that is the rarest thing that a producer gets to see.

With so many writers banging out the same old formulas and churning out movies based on “great loglines” rather than great characters, it is very rare that a producer gets to see a truly great script.

Which means if you can write one, you actually have a chance of generating the kind of passion that it takes to make a producer believe in you, and take the risk involved in fighting for a new writer.

Think you’re ready to sell your script? Check out our Pitch Like a Pro seminar to find out how to give a succinct and irresistible pitch for your story.

[/spb_text_block]

Share this...
guest

1 Comment
Newest
Oldest
Inline Feedbacks
View all comments

COURSE PARTICIPANT AGREEMENT

Participant Agreement

By registering for the course, you are agreeing to the following terms, which form a legal contract between you and Jacob Krueger Studio, LLC (“Company”) and govern your attendance at and/or participation in Company’s course (the “Course”). 

  1. Course Participation.
    1. Admittance.  Your registration entitles you to admittance to the Course.  Any and all other costs associated with your attendance (including, without limitation, any travel or accommodation expenses) shall be borne solely by you and Company shall not be liable for any such costs.
    2. Media.  For good and valuable consideration, the receipt and sufficiency of which are hereby acknowledged, you grant Company the right to record, film, photograph or capture your likeness in connection with the Course, in any media now available and hereafter developed (“Course Footage”).  You further grant to Company in perpetuity the rights to use, license, edit, copy, distribute, publicly display and make derivative works of the Course Footage, including exploitation for marketing, advertising or merchandising related to the Course, throughout the universe.  You hereby waive any and all approval rights you may have over Company’s use of the Course Footage and acknowledge these rights are granted without any payment, including royalties or residuals, to you.
    3. Conduct.  You acknowledge that Company reserves the right to request your removal from the Course if Company, in its sole discretion, considers your presence or behavior to create a disruption or to hinder the Course or the enjoyment of the Course by other attendees or speakers.
  2. Fee(s).
    • Payment.  The payment of the applicable fee(s) for the Course is due upon registration or per your payment plan.  If such payment is insufficient or declined for any reason, you acknowledge that Company has the right and sole discretion to refuse your admission to the Course.
    •  
    • Taxes. The fee(s) may be subject sales tax, value added tax, or any other taxes and duties which, if applicable, will be charged to you in addition to the fee(s).
  3. Intellectual Property. All intellectual property rights, including trademarks, copyrights, trade secrets and patents, in and to the Course, the Course content and all materials distributed at or in connection with the Course (the “Course Materials”) are owned by Company. You may not use, license, copy, display, or make derivative works of the Course Materials without the prior written permission of Company.  For the avoidance of doubt, nothing in this agreement shall be deemed to vest in you any legal or beneficial right in or to any trademarks or other intellectual property rights owned or used under license by Company or grant to you any right or license to any other intellectual property rights of Company, all of which shall at all times remain the exclusive property of Company.
  4. Warranties; Limitation of Liability.
    • Other than to the extent required as a matter of law: (i) neither Company nor its employees, agents or affiliates (“Company Parties”) shall be liable for any direct, indirect, special, incidental, or consequential costs, damages or losses arising directly or indirectly from the Course or other aspect related thereto or in connection with this agreement.  The maximum aggregate liability of Company Parties for any claim in any way connected with therewith or this agreement whether in contract, tort or otherwise (including any negligent act or omission) shall be limited to the amount paid by you to Company under this agreement to attend the Course.
    • You represent and warrant that you have the full right and authority to grant Company the rights provided in this agreement and that you have made no commitments which conflict with this agreement or the rights granted herein.  You agree that your participation in the Course is entirely at your own risk and accept full responsibility for your decision to participate in the Course.  In no event shall you have the right to enjoin the development, production, exploitation or use of the Course and/or your Contributions to it. 
  5. Governing Law and Venue.  This agreement shall be governed by the laws of the State of New York without regard to its conflict of laws provisions.  The parties hereto agree to submit to personal and subject matter jurisdiction in the federal or state courts located in the City and State of New York, United States of America.
  6. Dispute Resolution.  All claims and disputes arising under or relating to this agreement are to be settled by binding arbitration in the state of New York or another location mutually agreeable to the parties.  The arbitration shall be conducted on a confidential basis pursuant to the Commercial Arbitration Rules of the American Arbitration Association.  Any decision or award as a result of any such arbitration proceeding shall be in writing and shall provide an explanation for all conclusions of law and fact and shall include the assessment of costs, expenses, and reasonable attorneys’ fees by the winner against the loser.  Any such arbitration shall include a written record of the arbitration hearing.  An award of arbitration may be confirmed in a court of competent jurisdiction.
  7. Miscellaneous.  Company may transfer and assign this agreement or all or any of its rights or privileges hereunder to any entity or individual without restriction.  This agreement shall be binding on all of your successors-in-interest, heirs and assigns.  This agreement sets forth the entire agreement between you and the Company in relation to the Course, and you acknowledge that in entering into it, you are not relying upon any promises or statements made by anyone about the nature of the Course or your Contributions or the identity of any other participants or persons involved with the Course.  This agreement may not be altered or amended except in writing signed by both parties.
  8. Prevention of “Zoom-Bomber” Disruptions; Unauthorized Publication of Class Videos. Company will record each class session, including your participation in the session, entitled “The Videos”. To prevent disruptions by “zoom-bombers” and provide Company and

    participants the legal standing to remove unauthorized content from platforms such as YouTube and social media sites, you agree that

    (1) you are prohibited from recording any portion of the Course;

    (2) in exchange for the opportunity to participate in the Course, you assign to Company your verbal contributions to the session discussions.

    To be clear, you assign to Company only your oral statements during recorded Course sessions. You retain all copyright to any and all written materials you submit to the class and the right to use them in any way you choose without permission from or compensation to the Company.

Welcom Back!

Log in to access your account

We will see you this Thursday!

7pm ET / 4pm PT

Check Your Email For The Link

(Don’t see it? Check your spam folder)

Donate To Our Scholarship Fund

We match every donation we receive dollar for dollar, and use the funds to offset the cost of our programs for students who otherwise could not afford to attend.

We have given away over 140,000 of scholarships in the past year.

Thank you for your support!

Other Amount? CONTACT US

Get Your Video Seminar

myth-three-act-structure-jacob-krueger-studio-free-seminar

Where should we send it?

"*" indicates required fields

Name*
Would You Like More Information About Our Classes?
This field is for validation purposes and should be left unchanged.

Need A Payment Plan?

We like working with artists and strive not to leave writers behind over money.

If you need a payment plan or another arrangement to participate in our programs, we are happy to help.

Chat us or give us a call at 917-464-3594 and we will figure out a plan that fits your budget.

Join the waitlist!

Fill in the form below to be placed on the waitlist. We'll let you know once a slot opens up!