List of Terms

Coverage:

A 3-5 page report evaluating the quality and potential of a written submission to be a successful film for that particular production company. Final judgment is a Recommend, Consider, or Pass. Most scripts are given a Pass (at least 85% of all submissions). This can be for story or commercial reasons. Recommends are very rarely given; this is an extremely high grade and basically means the script is ready to shoot. Thus, a Consider is considered to be positive, and should make a writer very happy! There are many factors involved in passing this test. A script must not only be well-written but must also appeal to the company’s commercial and thematic sensibilities. For example, it could be a wonderful fresh romantic comedy, but if that producer or executive is not looking to make a romantic comedy, then they will Pass.

Copyright:

You can copyright your screenplay or novel with the U.S. Copyrights office in Washington, D.C. Download the proper forms at their website.

Cross-Genre:

Combining two easily understood genres in a fresh mix. E.g., Science Fiction-Western, Horror-Comedy. The more unique your take the better, although there is usually a short window after a unique genre film proves very successful in which the studios buy up other material that is similar.

Development:

The process by which a written submission is developed into a final shooting script. The department in a studio that handles all written material: finding the material, evaluating it and recommending to buy it.

High-Concept:

A unique premise easily understood in a single sentence. Often contains a “hook” that puts a twist on a classic situation or even another successful film. A concept that immediately sounds commercial that would attract big names and big box-office. E.g. “Die Hard on a bus” (Speed) or “Die Hard on a cruiseliner” (Speed 2). “Emma at an L.A. high school” (Clueless) or “Invasion of the Body Snatchers meets The Breakfast Club” (The Faculty). Very helpful with marketing because any one can quickly understand the idea (and hopefully get a sense of genre, tone, and theme) and will be inspired to read the script.

Logline:

The story in one active sentence, focusing on the concept, main story engine and main conflict. Ideally in 25 words or less (a.k.a. the premise or "pitch"). I like to use the following construction:  An engaging Protagonist must struggle against tremendous odds to achieve his/her goal.

Option/Sale:

An Option is when a producer pays for the right to purchase a screenplay in a  set period of time.  In that period (e.g., 6 months, 1 year) they have the exclusive right to shop the script around, hoping to get it sold, financed, or produced.  Most options to new screenwriters are for small sums of money; a new writer should consider the track record of the producer (thus the likelihood of their script being sold and produced) as being more important than the price.  Many sales listed in the trades contain the "guarantee/upfront" amount and the production bonus (e.g. $100,000 against $300,000).  One sum is paid up front and the remainder of the money is paid if and when the film either goes into active development or begins production.  This is to insure the studio against overpaying for scripts that will just sit on their shelves, since they buy more material than they can actually make into films.

Packaging a script:

Attaching talent to your script. I.e., getting an actor and/or a director to officially declare interest in the script to raise the chances of a sale and production. Very difficult without representation (see Unsolicited Submission), and even more so to attach a “star” as their agents will refuse to look at a script not already funded for production. This is also referred to as attaching elements. A contest/festival win, or even a well-known true-life inspiration, can also help to build buzz on a script and get it read.

Query Letter:

A short letter to a professional company, via mail or fax, making them aware of you and your screenplay and “pitching” the story to them in the hopes they’ll request it. Three to five short paragraphs and one page maximum — must be very clear and meticulously proofread.

Reader’s Script:

The submission draft. A screenplay written to be submitted to a production company. Should read well and flow; should not contain scene numbers or visual directions. Should feature a dynamic opening, short scenes, fast pacing and never exceed 120 pages in length (see Shooting Script).  I suggest you keep it under 110 pages.

Registering your script/book:

All screenplays and written material should be registered with the Writer’s Guild of America West or East before submitting to anyone or any professional entity. Your work (anything written may be registered) will be sealed in an envelope and date stamped. For nonmembers, this service currently costs $20 in L.A. (five years registration) and $22 in NY (10 years registration). It may be done online, via mail or in person at the offices in New York or Los Angeles. You can also copyright your work (see Copyright). Titles cannot be protected.

Shooting Script:

The final draft of a screenplay before going into production. Has been given the final okay by the Director, the Producers and Executives. As a screenwriter, you should not be concerned with shooting scripts or formatting your script to look like one.  Keep in mind that many of the produced screenplays you see posted online are shooting scripts, not submission drafts (see Reader's Script above) so you should not necessarily emulate the style and format of these drafts.

Spec Script:

A screenplay written to be sold on the open market, as opposed to one commissioned by a studio or production company (see Work-for-Hire). No guarantee of payment. Often the greater risk of a spec script pays off in a bigger sale. The only way for a new screenwriter to break in is to have a strong spec sample.

Story Analyst:

Also known as a “Reader.” The person who reads a written submission (usually a screenplay or a novel) for a producer or executive and writes up an evaluation report called coverage (see Coverage). Since producers and executives can’t possibly read every submission that comes through the door, they employ story analysts to sift through most of it, and the exec only reads what gets screened and/or what is dubbed high-priority.

Submission Release Form:

A waiver provided by a production company and signed by a writer with an unsolicited submission (see Unsolicited Submission). Protects the production company in the event they produce a film featuring a similar story as the writer’s screenplay.

Three Act Structure:

A.k.a standard structure. The classical, proven form of storytelling in film. Form, not formula. It does not dictate your story choices, only where you might place the major plot points. Based on Aristotle’s three act dramatic structure: beginning, middle, and end. Also known as Three Act Restorative Structure, as the story begins with an order that is thrown into chaos, and by the end a new restoration of order is reached. 98% of films fit into a three-act structure, including most foreign films and seemingly more experimental cinema such as Being John Malkovich or The Blair Witch Project.  Personally, I break the three acts into four, separating act two into 2A and 2B.

Treatment:

The plot of a screenplay written out in prose form, in one to two pages. The story, specifically the action of the story; beginning, middle, and end; very clearly written. Very spare and straightforward — does not contain extraneous emotional or cerebral content nor long excerpts of dialogue. It is crucial for a screenwriter to write a treatment of their story before they begin writing the actual script, and then also after they’re finished to help market it. Many companies will require a one page treatment sent ahead of time for review before they accept the screenplay. Also called a synopsis or pitch; not to be confused with a long-form 25 page treatment (or even longer "scriptment") which includes blocked excerpts of dialogue and is written more in screenplay format.

Unsolicited Submission:

A screenplay submission that is not coming from a professional source (an agent, lawyer, or manager). Many production companies and agencies refuse to read unsolicited submissions, but they all keep submission release forms on hand for when they get tempted by a new writer with a fantastic logline (see Logline).

Work-for-Hire:

A screenwriter is hired for a negotiated fee to write or rewrite a script within a certain timeframe. The writer is guaranteed of payment if he/she fulfills the terms of the contract. Only for experienced writers. A newcomer must be known for at least one quality spec script before being considered for work-for-hire jobs (see Spec Script). Also known as an ‘assignment.’