Chantelle Osman recently approached me about sharing information about her work as a screenwriter and producer with Writing It Real subscribers. Those of you interested in pursuing acceptance of screenplays for production will enjoy the hit of energy you’ll get from Chantelle’s energetic words. Her enthusiasm for the process and absolute trust in the ability to succeed may be contagious.

Sheila
Many Writing It Real subscribers will be interested in information you can give them about screenplay submission and the production of films. What are the most important things for prospective screenwriters to understand?

Chantelle
That a “no” is never the end of the road. There is some producer out there somewhere that is looking for a screenplay just like yours. If you are smart with your submission, and willing to make changes to tailor it to what the producer wants, you have a better chance of seeing your work on the big screen.

Sheila
What are the most frequent mistakes made by those who submit screenplays?

Chantelle
I’d have to say not doing your homework. That means sending your screenplay to the wrong people, or not following their submission guidelines. You have to play to your audience. Don’t send a gritty crime drama to Disney; don’t waste money mailing a script when they only read scripts sent via e-mail. Use resources like Internet Movie Database to do your research. Another frequent mistake screenwriters make is not protecting their work in some way before sending it out. Register it with the Writers’ Guild of America, or copyright it in some way before showing it to anyone. Despite what you may think, there really is no such thing as an “original” idea, someone else may be writing the same movie with different character names right at this moment. Make sure yours was there first. Also, some less than ethical producers may think your idea was so good, they hire a cheap writer to do a spin off. If your work was registered, you can prove that you submitted your work to them before they wrote theirs.

Sheila
What advice do you have about finding an agent?

 Chantelle
Although your screenplay is a labor of love that you may have shed blood over for years — once it is complete and you are ready to submit, you have to emotionally divorce yourself and approach it as a marketing proposition. Find out if the production companies you would like to submit to require an agent. Find out what agents represent work like yours. If possible, only deal with one of the ‘Big 5’ agencies – William Morris Agency (They have an Independent branch that represents newer artists), Creative Artists Agency (CAA), Endeavor, United Talent Agency (UTA), and International Creative Management (ICM). Never work with an agent (or producer for that matter) who requires any kind of money to be handed over up front (e.g.: $100 submission fee). Call your prospective agencies and find out their submission guidelines. In your cover letter, you can note any important honors or awards you have been given; if you have websites or fan followings, include information about this. However, the most important sales point for an agent or producer is the script, not the writer. Unless you’ve had great book sales, or other films made, they really don’t care about who you are. The script has to grab them. In your cover letter provide the title of the screenplay, genre, and tagline. A compelling tagline can sell your script. Given a great tagline, agents and producers immediately begin imagining film posters in their head. Here are a few of my favorites:

• “Don’t go in the water.” Jaws
• “In space, no one can hear you scream.” Alien
• “A tale of murder, lust, greed, revenge and seafood.” A Fish Called Wanda
• “She walked off the street, into his life, and stole his heart.” Pretty Woman

Along with your cover letter and screenplay, it is a good idea to include a 1-2 page synopsis of the film. One caveat I have to add: in your cover letter do not make “helpful” suggestions as to what director you feel would be best or what actors or actresses you think would best suit the roles. The only exception to this is when you are sending the screenplay to an agent that happens to represent the artist that you feel would be perfect for the role.

Sheila
What are the chances, really, of having a production company respond positively to a screenplay by an unknown? To one that comes un-agented?

Chantelle
Some production companies will only read work sent to them by an agent. This is another thing you can find out by doing your research. I suggest making a list of the top 10-20 production companies you think would be right for your work (within reason), and then call them to see what they are looking for and what their submission guidelines are. They will tell you if you need to be represented by an agent. You can use the same research process to find an agent — search IMDB and see what agents represent work like yours and submit to them. If you don’t have an agent when you submit your work, make sure you have one when you sell it. Agents and entertainment lawyers know the tricks of the trade, and will make sure that you aren’t being taken advantage of in the deal. Paying them a small percentage is well worth avoiding problems later on.

Being unknown isn’t a bad thing. Obviously, if you are an Oscar winning screenwriter, your work will get to the top of the pile. Similarly, if you are a print author with a large following, the chances of getting your work to screen are higher because you have a built-in fan base. If these descriptions apply to you, then you need to put that right at the top of your submission letter. However, that doesn’t mean that you don’t have a chance if nobody knows your name. Every Oscar season we hear of the “breakout” independent film — generally based on an unknown’s screenplay: think “Juno.” In my experience, about one out of every five films made is from a screenplay by an unrecognized author.

Sheila
What kind of scripts is your new production company looking at if it is seeking scripts?

Chantelle
I think that given the economic crisis we’re going to see a major emphasis on comedies right now, so I’m looking particularly for those; however, my company isn’t limited to any particular genre. I started my company so I would be able to have the final decision and ensure that only the best quality projects can go forward.

People who have screenplays they would like to submit can send me a synopsis via the contact form on my website, and if it is of interest, we will ask for the full script. My company also does some exciting consulting work on the development end. To give just one example of this: if you have a screenplay that has gotten good feedback but keep being told it “needs work” we assist in not only finding areas in the script itself to develop and focus on for editing, but also assessing marketability, seeing potential for product placements, providing casting suggestions, etc.

Sheila
What should prospective clients do about registering their script before submitting it for help?

Chantelle
It depends. I do not require scripts be registered before they are sent to me (that’s mainly an author’s protection) but I will require a clear title check if I purchase it. Registration also depends on what services are being done – if the script is still in development stage and you hire me to consult, there’s no need for it to be registered yet.

Sheila
What is the cost of this kind of help?

Chantelle
As far as cost goes – again, it depends on the services. I really aim to make good films, but a lot of people requested I consult on their screenplays after hearing me speak, so I’ve started doing that, and it depends on how much work needs to be done, if you have specific issues you need me to address, etc. I also am not able to take every script on that I am sent – that’s why I prefer really not to give a specific pricing schedule on my website.

Sheila
Let’s turn now to your writing. What led you to mystery writing? What is keeps you committed to this genre?

Chantelle
I think mystery fans are born, not made. Someday, scientists are going to find the gene that makes some readers need to have more participation in the book — in mysteries, the reader is trying to actively solve the problem, versus passively absorbing the story.
I’ve always loved mysteries of all ages and types… Arthur Conan Doyle, Elizabeth Peters, Katherine Neville. I’m working on two totally different series right now — Final Draft is the first book in my “cozy” mystery series set in Hollywood at a production company (surprise, surprise). Tyfany Twysted is the first volume in my Twysted Tales saga, a period mystery series, which I can only describe as National Treasure meets Northanger Abbey, and I hope will appeal to younger adults as well as adults.

Sheila
Can you share some of what you presented to Sisters in Crime?

Chantelle
One hint I was able to share with them that we haven’t discussed is what to do after you’ve submitted your screenplay to a producer or agent. Don’t be discouraged if you don’t hear back the week after you’ve send in your work. Turnaround times depend on the size of the company and how many “readers” they have on staff (people hired solely to read and review or “cover” scripts). It is wise to follow up, but absolutely vital not to be a pest. If you submitted via e-mail, follow up in a week or two to ensure receipt, and see if they’ve had a chance to read it. The most important thing you can learn is that the assistants and readers are the gatekeepers. If they like you, your script will be read, covered and recommended (if it’s good). If, when you call or e-mail, you are rude or bothersome, you could have the next Citizen Kane and the only person that will ever read it will be the trash collector. Also, learn from your rejections; it isn’t the end of the road. If they let tell you the script isn’t of interest at that time, see if you can get a copy of their “coverage” (a review and synopsis of the script, opinions and recommendations). Generally, readers are far too busy to tell you what they liked or didn’t like — so don’t ask. Some companies will give you a copy of their coverage, and that can contain some helpful notes and maybe point out areas where you could rework it to make it more saleable.

Sheila
What questions do you wish that audience had asked?

Chantelle
I would have liked to emphasize how important it is to protect yourself, both before submitting by registering your work and also after you submit. If you are the lucky person who has a producer interested in your script, don’t say yes; hang up and call an agent or an entertainment lawyer. The producer may want to “option” your script, which would essentially be renting it for a period of time to see if they can get it made before paying a full sales price. This could be a great thing — or it could tie up your script for years. Contracts are confusing, and there’s a whole set of jargon that we’re not used to, like “backends,” “BOBs” (box office bonuses), and a lot of ways to be paid that sound great, but ensure you will never see a dime. Especially in today’s technological world, we have to know what rights we are giving up — DVD, foreign, computer games, spin-offs, etc. So as a rule of thumb, never sign anything without a lawyer reviewing it, and that does not mean e-mailing it to your neighbor who is a divorce attorney; it means getting a real entertainment lawyer.

Sheila
Where can we find your work?

Chantelle
Hopefully on movie screens and bookshelves near you very soon! I have two movies in the works. One is a drama based on the true story of a man who tries to get out of the mob — it’s still in the re-writing stage. The other is a hilarious teen comedy, which we are casting and should be shooting via a major studio within the next year. Keep an eye on my website for updates on that, as well as future speaking engagements!

Sheila
I have been to your website and see it is under construction. What do you plan to have on the site? If people fill out the contact form, what will they be receiving?

Chantelle
In addition to producing some films, I also develop them. That means not only working with the author to edit and further develop the screenplay itself, but also working on potential locations, casting — creating a whole package before reaching the production stage. When it is complete, my website will have information on the films I’m producing as well as those I’m developing — so it also acts as a kind of advertisement for those projects in development by my company. The website will also have a list of my upcoming speaking engagements. Those who wish to submit a script to my company can send a summary via the contact form and I will get back to them to let them know if we have any interest, either on the production or development end.

The contact form is also a great way for your readers to ask me any questions they may have — though they can also do that on my Facebook page.

Sheila
I’ve forgotten to ask you why you started a production company! What are your company’s goals and mission?

Chantelle
As head of production and development, I helped develop scripts for years. Being able to do it without worrying that we’re buying a script because it has a cheap budget and can shoot in a place with the best tax breaks, but because it’s of good quality is why I started my own company.

And like I said, during times like the tough economic ones we are currently experiencing, there isn’t a lot that can make us see the bright side of life. Movies can do that- they can change your mood, let you walk in someone else’s shoes, experience a different way of life. They document life’s rich pageant. I am so glad to be a part of that in a way that isn’t restricted by focus groups or the bottom line. With my company, I get to work on the area of moviemaking I like best — the creative element of editing, writing, casting and developing.

Sheila
Chantelle, please be sure to let us know when you add more to your site, and I will post the information on the Writing It Real blog to update our readers. Thank you so much for your time and all the information.