with Producers and Development Executives desperately competing to identify and discover that diamond-in-the-rough idea that will turn into the next blockbuster movie, or hit TV show. As a service created by an industry executive with experience at all levels of development with A-list producers in TV and Film, TVFilmRights.com knows from direct experience that by allowing a protected method of contact for the Writers and Creators, and providing the right connection for those projects, virtually anyone can sell a movie idea or television format to Hollywood and become a paid and credited Writer and Producer. This is the reason countless projects are reviewed by Executives sourcing new material from our database every week. As Hollywood has morphed into the digital age, TVFilmRights.com has become the online marketplace for buying and selling concepts and scripts.
Studios and Networks want a great story or concept to produce, and they hire teams of development executives and producers to create and scout those potential projects for development. When a Producer or Development executive reviews a concept or story that is compelling and truly original, they do not care where its coming from. Ideally it would come from their own team of highly paid Producers, but their goal is to package and sell projects to the Studios, so they must use any efficient and direct source for discovering new material, in hopes of finding enough projects to meet their mandate.
Real circumstances or events in life are often more unbelievable than any fictionalized story. Developing a screenplay or movie idea based on true events always breeds more confidence with Producers reviewing the projects. Audiences for television and film are always interested in hearing an incredible story that actually happened, or learning a perspective of an event they haven’t yet experienced. When you’re formulating and researching concepts for stories, always consider having your story (fiction or non-fiction) based in some truth. The story may be fictionalized, but if its inspired or based on a real person or event, it will have more pull with buyers.
If you’re not a star writer being fought over by the studios and producers, then formulating a great high-concept for a movie is your best calling card. Having it backed up by an inspired and tightly woven screenplay is great, but its that great concept that will give it momentum with any Producer who options it. Creating a great movie concept begins with exploring the potential of circumstances that may be ironic and extreme. This holds true in all genres. Whether its a high concept comedy, supernatural thriller, or family drama, your talent as a screenwriter and concept creator comes through in the choice of circumstances you create for the story. Don’t think of what is probable. Think of what is POSSIBLE. And if its a high-concept piece that defies reality, go three steps beyond that and explore all unique possibilities for the characters and story.
When you’re conceiving, writing, or re-writing, ask yourself, “What If this could happen, or that could happen?”. “What if the only person who can save her life happens to be a longtime enemy?”…”What if the animals could talk?”… “What if he could only tell the truth?” …”What if he were brilliantly gifted, but couldn’t function in normal society?”…”What if he were a womanizer and suddenly discovered the power to read women’s minds?”… These are all unique “What If’s”, that have been explored and told through many hit movies. That one question/element is what fuels the character and storyline, helping create a multitude of entertaining and compelling scenes. Find the magical “What If” in your movie idea or screenplay, and discover its potential as a great story, and the greater potential for a sell.
At the TV/Film Rights Marketplace, Producers and Agents scout original screenplays from established writers, aspiring writers, and Agents representing screenwriters. A synopsis of the screenplay is uploaded via the registration form, and executives will review for consideration to request the full screenplay sent. They may also give an option deal based on the synopsis/concept regardless of the screenplay itself, although it is ideal to have a company option the screenplay. Selling a screenplay will bring larger financial reward, and give the writer more leverage in negotiating participation in the further development and production of the project.
Screenplays should be between 90 and 120 pages. Many are often longer, but having a screenplay that is efficiently written, with a quick moving plot, will make it further up the development ladder. Take merciless efforts to read and rewrite your screenplay, cutting all scenes and exposition that are not absolutely critical to the plot and character development. And just when you think you have it dialed in, share it with any experienced associates and other writers who will bring a fresh (and hopefully polarizing) perspective to your writing. Then rewrite some more. Executives may fall in love with the basic premise or concept, but the real devil is in the details and how it plays out in the screenplay you write.
The craft of screenwriting is a lifelong journey, one that even professionals refine and expand on throughout their careers. Understanding the principals and art of screenwriting is essential to any creator, screenwriter, or producer. Consider some of these insightful books on the craft:
Although our Industry produces formats that are derivative of other shows already successful, we strive to create or discover that next original idea that will deliver something we haven’t seen yet. When creating a new concept for a show, concentrate on creating unique content. Ask yourself “what are we really watching”. Where some concepts sound great in theory, they fall short in actuality. Producers and Network Executives want projects with the potential to become a franchise for continued production throughout the years and in foreign markets.
Now is the most opportune period in the history of television to sell formats and concepts for TV. The explosion of cable programming has opened up a new world of opportunity for Producers. Having cable networks that specialize in a niche-genre (ie; cooking, car racing, golf, history, etc.) allows the Producer to scout specific projects that match their target audience, increasing their odds for a sale. This also provides a compass for Writers and Creators pitching projects in our marketplace that match those niche-specific outlets.
The Docu-Series: Documentary-style series are a flourishing sub-genre of reality TV that keys on unique subjects, people, professions or other corners of our world and culture we haven’t yet seen. When pitching a docu-series, key on the “unique world” we’d be watching and who the people are that are involved. Because the content of a documentary-style series is mostly speculative (because it hasn’t happened yet, and you don’t know everything that will or can happen in the show), describe what we’re potentially watching, illustrating some of the unique scenarios we’ll witness. You’re pitching the people, the place, and the potential content.
Consider these valuable resources to learn more about creating and pitching tv concepts:
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