PLAYDIGM Entertainment Licensing & Branding

A “spec” script is short for a “speculative” screenplay, which is a screenplay written without the writer being paid for their time and effort to create such a literary work.

Normally producers pay you to write a screenplay.  You are retained to write a draft of a script that they have come up with.  This commission is usually on a Work-For-Hire basis and the producer(s) own your work and copyright.

Even better is when producers pay you to write a draft or another draft of a screenplay you created under an option agreement. Usually they end up owning the rights to your screenplay and you make a small amount of money and if you negotiated well – even a small piece of the future revenue, if any.

Of course, the only thing better, is to develop your own screenplay with your own money and your collaborators/partners – as this will provide you with the maximum risk but also the maximum reward.  Of course, you will need a lot of money to do this but wouldn’t it be great to control how your vision would lookon film.

You, the writer are considered an element that is attached to a screenplay.  Just like producers, actors or the director are elements.  The more elements attached to your screenplay, the easier it is to be sold to a STUDIO or PRODUCTION COMPANY.

Selling to a studio is considered the best-case scenario as they have the distribution and marketing clout to do it right.  Plus they pay the most for writing screenplays.  Major studios, mini-majors and other production houses require you approach them directly but the likelyhood of an unknown writer getting through the gatekeepers is slim.  Having a producer or agency (especially a known one) is the kind of  middleman to act as a bridge between you and thestudio to ensure that the script is polished enough to be purchased by a studio.

So if you have finished your screenplay and are not successful at getting any producers or agents or managers to read it or become involved with your project, then try and attach an element or two to your project.  This makes it more attractive to other elements and a studio.

Also try and diversify your writing from just your screenplay  to a novel, comic series, graphic novel, video game or any other ancillary merchandise based on your license/brand.  This two will help attract other elements and non-film markets.

This is what I do and continue to do.  So can you!

Sandford Tuey

I was asked the other day:  Which movies do I like?

My response was, “Every film ever made, including the bad ones. You can learn more from a bad movie, then a good one.”

I continue to receive responses from my query letters sent out to American agents but since I was represented by one of the best agencies in Canada, I have a few requirements for any agent I get involved with.

1) We are both on the same page, meaning, he or she knows what I am seeking in the industry and what I am prepared to do to make these goals a reality.

2) He or she is going to be proactive in developing my screenplays into packages and market them into the industry.

3) The agent has the ability to get my scripts in front of major players and actors because they are critical to major distributors financial involvement.

4) They will keep me up to date on a once a week basis.  One email a week seems reasonable.  I will leave them alone to do their business but if they want to talk, I am available 24/7/365 (as usual).

5) Provide input on scripts I write and am thinking of writing. They have their finger on the pulse of the industry.

6) Are able to negotiate with my legal counsel any options or sales deals.

7) Love their job and enjoy movies of all kinds.

If this sounds like you, let’s talk…

Sandford Tuey

info@Playdigm.com