Selling a screenplay is the ultimate goal for every screenwriter. The general process itself seems simple enough to most at first glance. You write a screenplay. You get that screenplay into the hands of decision-makers in Hollywood. They buy your script and then attach a talented director, crew, and cast to make your cinematic story come to life. While that encompasses the general process of selling a screenplay overall, there’s a “little” more that goes into it than that. With that in mind, here we offer a closer look into the process of selling a screenplay.

Train Yourself to Become a Pro Screenwriter

If you’ve watched Rocky, The Karate Kid, or its follow-up Cobra Kai, you generally have an idea about what it takes to train for something. 

• You need to learn new skills. 
• You need to practice those skills.
• You then master those skills by learning from your inevitable failures.

Like any good training montage, the person training needs to put themselves through an arduous but inspiring training regiment where you slowly evolve your skills to the point where you are able to handle the ultimate task at hand — in your case, writing a screenplay worthy of acquisition. 

It’s all about putting the best possible product into the hands of the decision makers. You don’t want to jump the gun and hand over your first script because chances are it’s not ready yet. Why? Because you haven’t completed your training yet. It’s like expecting to take on a karate master in an epic duel when you’ve only learned one kick or punch. 

The key first step to selling your screenplay is to get yourself to the point where you can write one worth buying. You accomplish this by:

• Learning your craft through reading scripts and screenwriting books, taking screenwriting courses, watching screenwriting educational videos, etc.
• Buying screenwriting software so you don’t have to worry about the formalities of format.  
• Trial by fire through writing that first screenplay. 
• Learning from the mistakes and triumphs you made.
• Applying those lessons to your next script.
• Rinse and repeat and hone your skills. 

It’s worth the time it takes to get to a point where your writing is ready for the big screen. Learn how to write well, and fast (one to two months tops to get to the first draft). It may take a few scripts before you get to one that truly is firing on all cylinders in the eyes of Hollywood — but the training to get to that point will be worth it. See more about writing motivation here.

Stack Your Screenplay Deck

You want to come to the table armed with a stack of strong writing samples and proven potential. One script usually isn’t enough. You need a portfolio of work to prove that you’re capable of becoming a professional screenwriter. 

Remember, when you sell a script, the work isn’t over. By most contract stipulations, you’ll be contracted to handle the first rewrite, which involves collaboration with development executives, producers, and possibly talent in the form of directors and actors. 

Before you even attempt to sell your script, you should have a stacked deck of scripts ready to be sold. 

• Take a year or two to hone your skills and build your deck of strong scripts.
• Give yourself strict deadlines that emulate professional contracts (1-2 months to finish the first draft). 
• Have fun and just focus on making your stories come to life on the page. 

If you have a collection of great scripts that stand out, your odds of actually selling one increase dramatically. 

Study the Market  

We can’t escape the fact that studios, networks, streamers, production companies, financiers, and distributors are in the filmmaking business to make money. So are screenwriters. In order to make money, they have to create films that audiences want to see — and are willing to see. 

Audiences go to the movie theaters or scroll on streaming platforms to find movies that entertain them. Sure, it’s also an artform — it’s not all about big explosions and thrills that keep audiences on the edge of their seats. But even with dramas and arthouse films, the goal is to reach as big of an audience as possible, in whatever way the screenplay calls for. 

As you hone your skills and as you work on stacking that screenplay deck, study the market. 

• Read the trades (Deadline, The Hollywood Reporter, Variety). 
• Learn which movies are being greenlit. 
• Learn who is writing, greenlighting, and making those movies.  
• Study the box office and see how movies are performing.
• Review new releases on Rotten Tomatoes and see how certain films are performing.

You’ll want to get an idea of who the decision makers are, what types of writers are selling screenplays, which agents and managers are representing those writers (subscribe to IMDBPro), which companies are making those movies, etc. 

Prepare Your Marketing Tools

Once you have 3-5 scripts ready to market, it’s time to prepare for your marketing campaign. To market your screenplays, you’ll first need three things:

• Loglines for each. 
• A synopsis for each.
• Find your comps.

What Are Loglines?

Loglines are one-to-two sentence descriptions that describe the core of your concept. 

• The aging patriarch of an organized crime dynasty transfers control of his clandestine empire to his reluctant son. (The Godfather)
• After a simple jewelry heist goes terribly wrong, the surviving criminals begin to suspect that one of them is a police informant. (Reservoir Dogs)
• A young FBI cadet must confide in an incarcerated and manipulative killer to receive his help on catching another serial killer who skins his victims. (The Silence of the Lambs)
• A quirky family determined to get their young daughter into the finals of a beauty pageant take a cross-country trip in their VW bus. (Little Miss Sunshine)
• A fast-track lawyer can’t lie for 24 hours due to his son’s birthday wish after the lawyer turns his son down for the last time. (Liar Liar)

You can go to IMDB and look up any movie to read its logline.  

Loglines are used in your first correspondence with potential contacts (see below). Your core concept is what they will either respond to immediately or tell them that your script isn’t a good fit. If they like what they read in the logline, and they feel it meshes with something they would be interested in exploring deeper, you may need to provide a synopsis. 

How Do You Write a Synopsis?

A synopsis generally isn’t used until after industry contacts you market your script to have read your first correspondence with your logline. If they like what they see in the logline, they’ll want to learn more. This is where they may ask to read a synopsis before they request the actual script. 

A synopsis is usually a three paragraph breakdown of the major beats of your story. Go to any bookstore or library and read the back jacket of a fictional book. This is the general format of a synopsis, except you give away the ending by the end of it. 

It helps to break your synopsis into the three-act structure all stories fall under (The Beginning, the Middle, and the End). Cover the broad strokes of your story without going into too much detail. You’ll want this synopsis to fit within the body of an email with three short paragraphs. 

Cynthia Erivo and Ariana Grande in 'Wicked'

What Are Comps?  

Finding a project’s comps is a Hollywood development practice where a project can be summarized using comparative movies that have seen success already. 

• It’s Die Hard meets John Wick.
• It’s Harry Potter meets The Incredibles. 

You can also offer comparisons between a successful movie and an added element of a genre. 

• It’s Titanic in space.
• It’s Die Hard on a cruise ship. 
• It’s Wicked with superheroes.

Comparisons allow for immediate recognition of the potential, scope, and genre of your project. Find two movies — or one movie and an additional genre element — that best encapsulate the potential, scope, and genre of your screenplay.  

Build an Industry Network

It really is about who you know. But don’t worry — you can build your network list from the ground up without having directly known anyone in a place of power within the industry. 

• First start by mapping out your personal connections to the industry.
• Then branch out to any geographical connections to the industry. 
• Later map out your industry experience contacts.  

Personal Connections to the Industry

Play six degrees of separation to Hollywood. How are you personally connected to anyone in the film and television industry? It could be a family member (distant or close), friend, friend of a friend, old high school buddy, the friend of an old high school buddy, etc. Any personal connection, no matter how far removed, is a viable networking contact. 

Geographical Connections to the Industry

The next level to explore while building your industry network is to look at any geographical connections you may have with any industry insiders. Look for anyone in the industry that grew up in the same city or state. Maybe they went to the same high school or college that you went to. Find those alumni you have a geographical connection with — anything that’s enough to break the ice in correspondence. 

Industry Experience Contacts

It would increase your odds of success to move to filmmaking and television meccas like Los Angeles, Toronto, Atlanta, Chicago, New York, and other centers where studios and production companies are based. You can look for entry-level jobs that can implant you within the industry. And while you do that, you can be making invaluable connections to help get you the proper opportunities you need to get your stories into the hands of those that can buy and produce them. 

It’s not essential, mind you. But it will increase your odds of success selling your screenplay tenfold.

Embrace the Cold Query

Let’s face it. Not everyone is going to be able to build a major network right away. You may not have a personal or geographical connection with anyone. You may not be able to make the move and work directly in the industry. And the hard truth is that sometimes, even when you do have those connections, they don’t always pan out. What’s your next step to selling your screenplay beyond that? The cold query. 

What Is a Cold Query?

The query is a form of correspondence where you use email to briefly introduce yourself and quickly pitch whatever script you are trying to sell. You’ll do this with all of your networking contracts we discussed above. 

A cold query is where you are pitching to someone you generally have no (or little) connection with.

• You’ll utilize your loglines and comps within these queries. 
• You’ll also utilize IMDBPro (a paid service that provides industry contact information) to build a list of producers, development executives, and representation (see below) you can email.   

How Do You Write a Cold Query?

Cold query emails should be short, sweet, and to the point. You don’t want to go on and on about yourself and your love of movies. You don’t want to talk endlessly about the background of your project. You want to get straight to the point, which is your logline.  

• Start with an opening introductory sentence. 
• Deliver your logline. 
• Thank them for their time.

Cold Query Example #1

Hi Steven,

Hope the week is going well. I’ve got a pulse-pounding suspense thriller called Jurassic Park that I think would be great for Amblin.  

An industrialist invites some experts to visit his theme park of cloned dinosaurs. After a power failure, the creatures run loose, putting everyone’s lives, including his grandchildren’s, in danger.

It’s Jaws meets dinosaurs.

Would love to have you take a look. Thanks much and let me know.

Best,

Johnny Screenwriter

Cold Query Example #2

Hi Steven,

Hope the week is going well. Jane Screenwriter here. Your driver George and I are old high school friends. He recommended I contact you for my spec script, Jurassic Park.

An industrialist invites some experts to visit his theme park of cloned dinosaurs. After a power failure, the creatures run loose, putting everyone’s lives, including his grandchildren’s, in danger.

It’s Jaws meets dinosaurs.

Would love to have you take a look. Thanks much and let me know.

Best,

Jane Screenwriter

Cold Query Example #3

Hi Steven,

Hope the week is going well. I’m a former studio reader for Sony and used to work under John Calley, whom I’m sure you remember.

I’ve got a pulse-pounding suspense thriller that I think would be great for Amblin.

Jurassic Park 

An industrialist invites some experts to visit his theme park of cloned dinosaurs. After a power failure, the creatures run loose, putting everyone’s lives, including his grandchildren’s, in danger.

It’s Jaws meets dinosaurs.

Would love to have you take a look. Thanks very much and let me know.

Best,

Taylor Screenwriter

Note: We’re being tongue-in-cheek with using Steven Spielberg as an example. Don’t try to contact him or anyone of his stature through email. 

That’s it! Keep it simple. The logline is what will sell them on your concept. If they want more, they’ll either ask for a more detailed synopsis or they’ll just ask for the screenplay. 

This is how you market your script. You can use the query for contacts you already have in the industry, contacts you have at least some connection with, or with those you only know by the research you’ve done to build your marketing list. 

Enter Your Screenplays Into Notable Screenwriting Contests, Competitions, and Fellowships

A viable way to get your screenplay read and considered by Hollywood is through screenwriting contests, competitions, and fellowships that have direct access to true Hollywood players. It’s not worth entering just any contest out there. You need to focus on the ones that have true Hollywood connections like the Nicholl Fellowship and Final Draft’s own Big Break. 

The competitions can offer you instant access and consideration if your script makes it into the finals. 

Seek Out Representation

Managers and agents take on clients to represent them and their projects. These are the people who take your scripts to their esteemed Hollywood decision maker contacts. A majority of Hollywood deals are made by way of referrals. Studios, networks, streamers, and production companies rely on managers and agents to refer both screenplays (for possible purchase) and screenwriters (for potential writing assignments) for consideration. Screenwriters rely on managers and agents to do the marketing for them, as far as getting their scripts into the hands of those who can make things happen. 

You can still market your scripts independently with no representation, but it helps so much to have an insider in your corner representing and championing you. 

Managers

Managers are usually the first type of representation screenwriters will have in their careers. They literally help you manage every aspect of your screenwriting journey. 

• What to write. 
• How to write it. 
• Getting you meeting with industry insiders. 
• Pitching your scripts.
• Trying to get you assigned to major writing assignments.  

You’ll find that managers are part mentor and collaborator. 

Agents

Agents don’t really come into play until there is a contract to be negotiated and signed. Many novice screenwriters struggle to get representation through a major agent or agency when they should instead focus on getting repped by a manager first. When the deals come, so will the agents. 

Lastly, understand that all of this represents just the general dynamics of the screenplay selling process. Everyone has their own story and their own journey. Yet as we mentioned above, it has to happen to somebody. It has happened to newcomers with their first script. It has happened much later to veteran screenwriters with decades of effort. The above insight and information is the general process you can use as the foundation to your own screenwriting success. Best of luck!