Introduction

I will compare the processes of selling a script and getting commissioned within the film and television markets. I will form my research in the style of a review; critically analysing the processes and steps that it takes to get your script sold and yourself commissioned for writing.

I will research markets such as the broadcasters; BBC, ITV, Channel 4, Film4 as well as the outlets for writers trying to get their break; Writers room, Writers store and the London Screenwriters Festival.

How To Sell Your Script

As an avid scriptwriter, you should already be venturing out, writing, posting your scripts or asking for advice on writing forums and exploring all the avenues available to you so that you can gain more experience and advice on writing so that your script will get noticed.

YouTube has become a rich source of information for many things, but one of those is that information can be sent out quickly, easily and across a wide range of demographics.
Many YouTube videos have information on how to write scripts to start with, but if you are wanting to sell your script you need to know how to gain the market's attention. You need insider tips and tricks on how to make the writers' markets sit up and listen to you, because of how well you have sold your script through pitches and interviews.
In my own opinion, I would start by making a name for myself on these social networking sites and on video channels such as Vimeo and YouTube. Write your own script, make the film and broadcast it to everyone you know and on to certain channels and markets such as short film competitions, because you never know who may be watching at that moment. I found these statistics through a Google search of YouTube ratings. It stated (YouTube, 2013) YouTube has over 8million unique users visiting it's site each month and over 72hours of footage are uploaded to YouTube every minute. YouTube is also localized in 53 countries, and broadcast overs 61 languages. In 2011, YouTube had more than 1 trillion views or around 140 views for every person on Earth. This huge exposure to the mass audience allows your content to be viewed by those who may not come across your work normally everyday. Your work will be opened up to new audiences simply from searches and links from other sites, reposts through social networks and be charted through your video's 'favourited' statistics, viewing statistics and hits.

When you have written your script I would circulate it round friends, family or onto your demographic for which the film was intended for to gain feedback. Take the responses on board and see how you could improve your script. You can then lend this information onto your other scripts which you will have to write for backup. If an agent or producer sees your script and likes it, they will ask for another to ensure your skills are carried through to other pieces of work; ensuring your scripts are quality controlled.

Making your film will allow you to project your intended vision onto a piece of media, which can then circulate on YouTube, Facebook etc. The internet is a huge network of contacts which will allow you to explore possible ventures as well as those finding you.

Sell Your Script (Sell Your Script, 2012) has a great post/forum in which it posts competitions for scriptwriters to enter. It is a great website with many posts asking for screenwriters to work on short films, advice, forums and discussion posts where you can ask for advice and/or promote your own body of work through links to your webpages with your films on them.
Searching through forum sites and other related blog posts will allow you to make new contacts and promote yourself.

There is also a very interesting article on website How To Sell Your Screenplay by successful writer Ashley Scott Meyers (Meyers, 2012) - IMDB Profile.
Obtaining information from successful and noted writers will allow you to understand the steps needed to be taken to achieve the selling of your script.

When you feel as though you are an accomplished scriptwriter, can write clearly and produce a strong script for a potential short or feature, I would then look and research into the steps given to achieve selling your script.

Scriptwriting in the UK (Stack, 2005) gives you information on how to obtain an agent. Stack is a successful scriptwriter who set up the Red Planet Prize in 2007 and won the BBC New Writing Award in 2004.
In 2005, Tony Jordan, a successful screenwriter with over 20years experience, set up a production company named Red Planet Pictures. In 2007, the Red Planet Prize was set up to nurture aspiring writers and discovery new writing talent. The prize has been met with considerable success; with previous finalist penning the drama series 'Death In Paradise'. Other finalists have had the opportunity to join the mentoring scheme by joining the writing team for Kudos children’s drama MI High.
Talking from experience, Stack explains how agents will think and respond to your proposal and script, so his knowledge and experience will be useful for first time proposers.
Stack also comments on how important getting an agent is; as they can become the bridge between yourself and the clients. Agents will be able to network and create new contacts for you to send your script to, creating more work. You as a writer can also network a little, but while you are writing the next best thing, your agent is out sourcing new avenues and clients; getting your name out there so others take an interest.

Although Hollywood may be some time away, this YouTube video (ScriptTip, 2007) may give you some useful information on selling your script to anyone.

Jen Govey has worked as an assistant for directors and producers at Pinewood Studios. Having read through scripts herself as her job she decided to write 'A Rough Guide to Screenwriting' as some of the entries she viewed needed advice; (Govey, 2013) "Most of the scripts I had read before were written by professionals and many had already been made into films. The quality of open submissions, were, quite frankly, dire. Some sent hand-written, unbound epics that were unreadable, some were in strange typefaces and layout, weird paper, weird language, some made no sense at all, some sent novels, drawings, diagrams and many included a three page letter telling you they had written the latest Hollywood blockbuster... when they sadly hadn't in fact."

On her site, Govey has compiled a list of UK and US agents and has also written a piece on getting an agent.



What Happens When Your Script Is Sold?

From research online, it seems that the buyer of your script acquires the rights to your screenplay. However, as Seigel (Seigel, 2011) states: "A reversion provision generally states that if a motion picture feature does not commence principal photography or is not completed by a certain time (such as anywhere from three years to ten years after the production company, broadcaster or studio acquired the screenplay rights), then the writer would have the right to reacquire the rights in and to the script. " This warns writers that you cannot be precious and protective about your script unless you are intending to direct and produce the film/series yourself. There are many contractual obligations that are required if you are to sell your script; so take note that you should look into your chosen market and industry, should you want to write scripts for other directors or write, produce and direct your scripts yourself.
Seigel's article on Movie Outline gives you information on the rights you have as a writer if your script has been sold.
This is a sample contract which was on website The Brass Bad (Seilhamer, 2011).
Seilhamer also offers assistance with scriptwriting and career advice.

Ghosh's (Ghosh, 2009) article on 'The Screenplay Writers' offers the percentages for which a writer will receive for their screenplay:


The contract also includes the amount of money from final agreement to which the writer will receive upon when the script has been submitted completely with no grammatical errors and other requirements such as the screenplay length in pages.
This information is very useful to grasp an understanding of the industry and what rights you have as a writer to your work.
It is better to fully acknowledge and understand the competitive industry before you decide to sell on your work.

In conclusion, I would advise continuous writing, proof reading, quality control and research into successful scriptwriter's and on their careers before sending out scripts.
Make your own films; this proves your visual aesthetics have been translated from script to screen. It will also give you practise on what to include in a script that translates well for the actors onto the camera.
Find a good agent who will support you and your script, if you are intent on selling your work and not making it yourself.

Getting Commissioned

Commissioning bodies are companies such as the BBC, Channel 4, Film4 and HBO. These companies will commission a scriptwriter to produce a script to their specific briefs.

The BBC's commissioning website found from their homepage informs prospective writers on their editorial guidelines and development briefs.

You can search for your specifically preferred genre; documentaries, children's TV, arts and culture. This is for television not film.

The website provides commissioning opportunities for you to apply through the e-commissioning system; (BBC, 2013) "the system is designed simply to make the process of tracking your offers more straightforward, so that filtering and comparing ideas is much easier."

However, the BBC (BBC, 2013) states "if you are a member of the public or an individual without broadcast production or online experience as a director, writer or producer for a broadcaster, please do not register for e-commissioning."

The site will then link you if you are in that category to another site entitled 'Ideas from the Public'. This site gives you lots of useful information about contacting the production companies with addresses and contact links.

The BBC also offers the WritersRoom on which unsolicited scripts can be submitted; WritersRoom.

In regards to contractual issues regarding getting commissioned, the The Copyright Act 1994 and the Commissioning Rule (Regulatory and Competition Policy Branch Ministry of Economic Development) states; "Section 21(3) provides that where a person commissions, and pays for or agrees to pay for, the creation of a photograph, computer program, painting, drawing, diagram, map, chart, plan, engraving, model, sculpture, film, or sound recording, the commissioner, not the creator, is the first owner of copyright in the work produced.^{3 "}

Bournemouth University have published an article on the commissioning process which explains how each commissioning body i.e. the company paying for you to write a script, has their own rules for the commissioning process.

They (Bournemouth University, n/a) published this piece in regards of the commissioning guidelines for television:

General summary of commissioning guidelines for television

These are the key factors to consider when pitching for commissions in television:

· Make sure that the idea is right for the channel you are submitting to

· Ensure you can see where the programme will sit in the current schedule

· Understand why people will want to watch this programme

· Identify any interactive or cross-platform potential

· Research your idea thoroughly and define the format

· List actors/actresses or presenters that will appear in the programme

· Ensure your proposal is clear and be able to sell it in the first line

· Make sure your idea is original
 

From researching the commissioning bodies, Channel4 seems to be the more willing to give new writers a go and to commission their work through their branch Channel 4Interactive. On a whole, Channel4 do seem more interesting in discovering new writing and production talent; in terms of camera crew, producers etc. Their demographic may be the reason why; aiming their shows and commissioned work at their audience, which may encourage them to submit their work to Channel4 because as a client, Channel4 may be the writer's ideal commissioning body, allowing their work to fit in with the broadcaster's current programmes in development and in broadcast.

On the Bournemouth paper (Bournemouth, n/a), they gave information on Channel4's main activities, which include;
 

Channel 4Interactive has a remit of extending and building Channel 4's branding in interactive media. Their main activities are made up of:

· Online, which is accessible via a 'supersite', and the FilmFour.com site which supports production businesses and the film channel;

· Interactive TV, which run through enhanced digital TV applications;

· Mobile & Fixed line Telephony, a department which participates in the development of cross-platform properties;

· 4Interactive, which is seeking to work with new and existing suppliers in production.
 

In terms of contracts, the information I received from the Bournemouth article shows that television contracts are generally the same. Jamie Barratt, (Barratt, n/a) Head of Programme Finance and Production, Meridian Broadcasting, stated: "There are various different types of contracts. If you're an independent production company you will be issued a production agreement by whoever's commissioning you...they give all the necessary consents and rights and waivers and what have you...I say, each company works in a slightly different way."

He also said that most companies will have their own agreements which you should be aware of, before jumping at a writing opportunity, you will need to be briefed and thoroughly read through the contracts.

The site also gives you information on how to protect your work and develop your ideas.

The site offers sound bites from interviews with people such as Melanie Leach; Director of Broadcast Development, Twofour Productions Ltd and Richard Higgs: Managing and Creative Director, Big Squid.

Information from those who work within the film and television industry is very valuable as you may not receive that information again or come across it on another occasion. Take the information they give you on board, because those who are in the know, know a lot more than you may do right now.
Researching commissioning bodies' contractual rights and guidelines will also help you to develop your script so you can pitch it to the correct audience and commissioning body. Decide which broadcaster has developed scripts that may be more suited to your script before contacting them. Don't submit a teen vampire drama to BBC when it may be more suited to E4. Decide who your demographic is and again research each commissioning body to view their demographic of viewers; this way you will not waste time by sending your script to the wrong broadcaster, who may immediately dismiss your script as it is not suitable for their audience.

Your pitch will determine whether they will want you to produce a script to their specifications and it may guarantee you a paid job, leading to your breakthrough into the industry.

Conclusion

In conclusion, I would argue that it is quite hard to get a screenwriting role in the industry as it is a very competitive market that will require you to make changes and acknowledge the integrity of your work so that you can redraft it, make changes and produce complete scripts (remember; write more than one script that is to a high quality and standard as backup to ensure you are seen by commissioners and agents, as they may want to see more of your work to see the standard of writing you can produce) that others will want to view.

I would suggest writing as many scripts as possible. Proof read them, send them to family, friends, peers and colleagues if you are in a college or university to receive an academic response, so that you can understand the audience you are aiming to write for and to understand that changes may need to be made to ensure your script has the strength to be seen by the commissioners and agents.
Understanding your market is a very important point. Create scripts that you know will be well received. Look for a gap in the television market today that you feel you could fill with your script.

In that case, I would create scripts, make them strong and then make the film for your script. Even if it's a short; the experience of writing a script and then producing it to be shown visually is a educational tool. By viewing your ideas in action, you can adapt your script in case something doesn't translate well onto the screen.
You may be putting too much descriptive language in and less action. These lessons can be learnt by trial and error, reading up on successful scriptwriters and gaining their advice to put into practise for your own.

Through reading blogs, creating films and seeking advice from successful scriptwriters, you may be able to understand the markets you are trying to break into.

Bibliography

BBC (2013) e-commissioning. [Online]. Available at: http://www.bbc.co.uk/commissioning/tv/pitching-ideas/e-commissioning.shtml [Accessed: 11 January 2013].

Bournemouth University (2013) Professional Studies for Screen Based Media. [Online]. Available at: http://media3.bournemouth.ac.uk/profstudies/5commissioning/03process.html [Accessed: 11 January 2013].

Ghosh, Pinaki. (2011). Screenwriter Contract – Agreement between a screenwriter and a client. [Online]. Available at: http://www.thescreenplaywriters.com/blog/screenwriter-contract-agreement-between-a-screenwriter-and-a-client/ [Accessed: 8 January 2013].

Govey, Jen. (2013) Screenwriters' Friend: Advice for screenwriting film screenplays. [Online]. Available at: http://www.jengovey.co.uk/screenwriters_friend/welcome.html [Accessed: 8 January 2013]. 

Meyers, Ashley Scott (2013) How to Sell Your Screenplay (in a nutshell). [Online]. Available at: http://www.sellingyourscreenplay.com/ [Accessed: 9 January 2013].

Regulatory and Competition Policy Branch Ministry of Economic Development (2006)

THE COMMISSIONING RULE,CONTRACTS AND THE COPYRIGHT ACT 1994

[Online]. Available at: http://www.nzipp.org.nz/NzippWeb/LinkClick.aspx?fileticket=6pHDd5XX90s%3D&tabid=153 [Accessed: 10 January 2013].

ScriptTip. (2007). Sell Your Script To Hollywood. [Online Video]. 25 July 2007. Available at: http://www.youtube.com/watch?v=ydCXhap6AI4 [Accessed: 9 January 2013].

Seigel, Robert. L. (2013) What happens if a studio or production company buys your script with the "secret" sole intention of killing the project? [Online]. Available at: http://www.movieoutline.com/articles/what-happens-if-a-studio-or-production-company-buys-your-script-with-the-secret-sole-intention-of-killing-the-project.html [Accessed: 9 January 2013].

Seilhamer, Kimberly. (2011). The Brass Bad. [Online]. Available at: http://www.brassbrad.com/contracts.htm. [Accessed: 10 January 2013].

Sell Your Script (2011). Sell Your Script. [Online]. Available at: http://www.sell-your-script.com/category/movie-scripts-competitions-contests/ [Accessed: 10 January 2013].

Stack, Danny. (2005) Scriptwriting in the UK. [Online]. Available at: http://dannystack.blogspot.co.uk/2005/10/how-to-get-agent.html [Accessed: 9 January 2013].

YouTube (2013) Statistics. [Online]. Available at: http://www.youtube.com/yt/press/statistics.html [Accessed: 4 March 2013].