should I say get back to me quick, I've had interest

[soonergirll]

Hi all - I was recently offered a small option for a script. The producer sounds excited about the project and I generally get good vibes. However, nothing is signed and there is no commitment. In fact she's up in Toronto and wants to meet after her return.

Here's the thing - I have recently had a few requests for the same script from other, larger production companies. As I mail out the scripts with the cover letter, should I somehow mention that I've had some interest, so read it quick? I don't want to sound like I'm full of bull or unduly pressuring them. If I should say it, what's the polite, professional way of doing so?

Soonergirll

[CRASH]

Companies requesting your script does not mean they're "interested in it." Scripts gets requested all the time and that's not a big deal.

In this business, "interest" is when a company has come to the table with an offer. So unless you have an offer, you would indeed be full of bull if you said other companies are interested in your script.

[soonergirll]

In that case, how does one delicately put off the offerer of the option until I hear back from the other production companies reading the script?

I hate to accept an option of a thousand bucks and a bucket of chicken if someone better comes along, with more potential to get a project off the ground.

[HConn]

Go on vacation.

[Hitchiker4]

It depends on you. If this is your first screenplay and you want to break into the biz...then you should have more to sell, right? If it is a legitimate amount of money, you should go for it if the producer sounds like she might introduce you to some agents. In addition, she should sign you on to the WGA. Lastly, EVERYTHING needs to be in paper!!!

[LIMAMA]

Knowing what I know now, I would use this "small offer" to try to drum up agency interest in my script.

[soonergirll]

Limama -

uh oh, what do you know now? I sort of thought why involve an agent, who will just try to hip-pocket his ten percent of not much in the first place, then bye-bye me.

Sooner

[LIMAMA]

Just that when I optioned my script, my then manager assured me that no agent was needed. In hindsight, I think that was poor advice. While I tried to cover all my bases, I bet an agent undoubtedly could have negotiated a better deal. And why would an agent be so quick to dump a potentially lucrative, longterm client?

[CRASH]

Sooner -- How long is the option on the $1,000 offer?

[Dr Stiggers]

The most powerful word for talent
in show biz in "no."

Say "no" to the thousand bills (the bucket
of chicken should be comp). Solicit other
prod. co's noting you've already have one
offer on the table. In fact, name the company
in your solicitations (but not the dollar amt.
offered). The Town runs on FEAR and a prod. co.
knowing they may lose a chance at getting
a script will prompt them to read your wares
pronto.

If you don't hear back from prod. co's in
a timely manner, it's a pass, but you'll
know they read your script from start to
finish and gave it consideration.

Rx

[soonergirll]

She hasn't offered me a dollar amount yet. She emphasized that she doesn't have much money and that her prodco is brand new and in fact this would be her very first project.

She mentioned a two year option, which strikes me immediately as way too long. She says she will hire an attny to draw up a contract, that she wants to go thru the WGA and absolutely dot her i's and cross her t's. (if she goes thru the WGA does this mean there will be a minimum option?)

I was wondering about drawing up a tiered option, something like if she can truly only afford a small amount at first, that she would make another installment in say six months, and then another in one year and at that point we talk again. I guess I would love some kind of assurance that she is serious about the project.

Can you have a clause in a contract wherein if the writer gets a different offer, the optioner has the choice to match it or bow out?

Crash - would you recommend getting an agent in on this?

[CRASH]

sooner -- I don't think you'll be able to find an agent with this offer. It's too low. Any producer offering that little, won't be able to raise it. Plus, it doesn't sound like she can get a movie made. It'll be a waste of everybody's time.

I'd walk away if I was you.

[medic]

Just out of curiosity, this producer wouldn't be representing a well know actor and have the last name of Gardner, would she?

[Dr Stiggers]

Crash is right, walk away. Chicken fried
offers never amount to anything. She won't
up the ante because she needs what little
dev. fund she has to option a half dozen
more scripts.

Use the offer in your queries to bait new
prod co's.

Rx

[soonergirll]

nope. She does, however, have a eastern european accent, and a brother named Vasily. She said her other optioned script didn't work out - something like the writer didn't know how to swim with concrete boots on. Huh.

[Dr Stiggers]

R U talkn' about Star Trek's gardner?

[snowman]

To Soonergirl,

I had a situation similari to yours, a few years ago I had a producer, who had a few features under her belt want a script of mine. I did find an agent WGA to work out the deal. And I'm glad, her agent tried to leave out some important things in the contract that could have hurt me if my agent hadn't have caught them and insisted on them being changed. To make a long story short, it took several months to even work out the option and I only made 2,500 for the 2 1/2 years she had it tied up, unable to get it made.

And now that I have begun pitching it again, I have found a bunch of companies wanting to read it. I just wonder what would have happend if I hadn't wasted so much time on
this lady producer who thought she had the pull to get it made.

I hope things work out for you, but just be care full, maybe you could stretch out the negotiations to give the other companies time to read it.

Good luck with whatever you decided to do.

Snowman

[soonergirll]

Snowman - thanks so much for that anecdote. I have a funny feeling in the pit of my stomach that that might be the same situation that might befall me. That was so helpful. I'll wait til she comes back from Toronto and see just exactly how small this option offer is. If it's truly teeny, I think I'll pass and hope for bigger, better things.

Sooner

[medic]

Nobody with Star Trek but this lady (Gardner) claimed to be publicist for Christopher Lambert. She was interested in a script that I probably re-wrote anywhere from 30-40 times for her-- if not more. She had to be out of her motel/apt. and I never heard from her again. Though, I tried to meet her contacts and she always pushed it off. I know I can't be the only that met this woman in Hollywood.

[AnconRanger]

Sooner,

Not sure what others think about this and I'm not completely sold on the idea, but I've signed a non-exclusive "shopping agreement" with a producer on one of my scripts (that I can cancel at any time with written notice).

The agreement is good for the writer in that you can pursue other opportunities to sell your work without that producer attached. The script isn't locked down with one "beginning or so-so" producer and I keep pitching my work, taking advantage of other opportunities.

The producer, who has substantial contacts and a solid but somewhat "new" resume, is getting the script through doors I would have a hard time doing on my own. I think he's a serious up-and-comer and trust him.

Might want to suggest something like that if you'd feel comfortable with it and trust that their name attached won't kill the submissions they make (with your approval). I hate the idea of low-dollar options with lower-level but legit producers who tie up scripts for months or a couple years. Very shaky.

Would be good to get feedback on something like this from other writers if you're interested. Right now it works for me but I'm no expert on these matters. I'm walking through rooms blindfolded in this area so don't take my word for it.

[Dr Stiggers]

Sorry to hear about the abuse. You've
learned the hard way, NEVER write for
free -- unless dealing with a reputable,
studio based prod. co. and even then
you'd do one or two extra passes.