Screenwriting : The End of the Rainbow by Simon Hartwell

I sold four short scripts to a producer who I met on Stage 32, Simon Hartwell. It was back in 2020. I think I met him in one of the Lounges, then after building a relationship with him, he looked at the scripts I had posted in the Logline Section of my profile, and he picked four to buy. The last time I talked with him, he didn't produce the scripts yet.

@Maurice. I have a similar experience as in a Producer was interested in one of my screenplays via the logline/synopsis posted here. We still have an established relationship and I have shared a couple more screenplays and written several screenplays requested by him. He hasn't purchased as yet though is still hopeful/working to find funding to produce one or more at some point. So fingers crossed.

That's one reason I suggest people post their loglines and scripts (and synopses) on their profiles, Simon Hartwell. Hope the producer buys your script(s)!

Hi Simon, I sold two screenplays, both were produced - a western for Lionsgate (on Inktip), and a horror script (on Script Revolution) that will be released in early 2024. I also have had 10 or so options that went nowhere.

I pitched a comic book and got hired to script a movie. Currently in pre-production. Never did sell the comic.

Congratulations on the sales and options, @Jerry Robbins!

Congratulations on getting hired to script the movie, @Bill McCormick!

@Jerry, many congratulations on selling the screenplays. Are you happy to share their titles so I can look out for them?

@Bill. An interesting outcome with a great result having your screenplay in Pre Production! Stoked for you. Please keep us updated.

Interesting topic. I'd be curious myself, but more so on how much a script was sold for. Was it a short and someone paid a few hundred bucks, or a feature for 20k.

@Stephen. I appreciate that aspect is of interest but it's also personal, so Im happy to hear the success stories and maybe get to watch a few movies. Maybe connect via network introduction and ask one on one?

Simon Hartwell ke3ep an eye peeled for SPLICE: HIT BIT TECHNOLOGY.

Simon Hartwell , Yes, it's personal and like filmmakers getting distribution deals, most won't divulge. But I think it's important for those to know a range, especially with all the money invested in perfecting pitches, pitch decks, etc. This is after all a business and people need to make money to continue doing it. My two cents. :)

@Stephen. I understand your thinking. I, for one, have no idea what a good price for a screenplay would be. Especially when you add factors like being an unknown screenwriter, first screenplay sold etc. Should I ever be in that enviable position I suspect I'll reach out through my network and weigh up the benefits of an IMDB writing credit over the money gained. I just dont want to put anyone off adding their post to the thread, so just the success of a sale will do.

Simon Hartwell a good price is one that makes you money. Unless of course it's a small indie production where everyone is trying to make a bit of a name and willing to contribute time for exposure. But if a bigger company is requesting to buy a script, and offers peanuts, that's another story.

I have an article on compensation here; A Screenwriter’s Basic Guide to Analysing Early Offers

Be cautious about what you decide is that pot of gold at the end of the rainbow. Spec sales are rare to come by and not as lucrative as many think, then there's things like potentially being rewritten, never seeing a script get out of development, or the translation to screen being terrible.

There's also writer-producers out there who don't really sell specs, but instead go out and get funding for ideas they have. My last film, Night Train got greenlit when it was just the treatment for a spec script I was planning to write. The one before, Double Threat was a collaborative idea and treatment I'd produced before it got funded.

There's some pretty happy places I know some writers have gotten themselves into. I know of a woman who has a producer that works with Lifetime/Hallmark and approaches her every month or so with an idea or rough script and $10K to turn it into something they know will work. She enjoys the type or material, gets a lot of control, gain credits, and does very well financially overall.

Assignments are the big thing these days, so it can be wise to see our spec script portfolios more like examples of work and then work our way up with assignments that show we appreciate the production and market needs of producers.

@CJ Thanks for the Guide to Early Offers. I need a manager or agent so as to get some of my murder/mystery scripts to Hall Mark/Lifetime. I have watched a few of theirs and they are pretty decent. I have also turned out some scripts at the request of a Producer (Unpaid though) and I enjoyed the process. The pot of gold for me...... to watch something I've written on the telly :-)

Hey, CJ Walley, thanks for that useful article. I've saved it to my bookmark's bar.

CJ Walley As always, an excellent assessment, CJ. Thank you for your continued wisdom. : )

Simon Hartwell Agreed, Simon! Best of luck to you. : )

Congratulations on selling two scripts and a pilot, Dan Guardino! And congratulations on the assignments and being employed as a staff writer!

Sounds pretty amazing to me. :-)

@Philo / Dan. Having successfully pitched your pilots are you busy writing the rest of the first season? During a consultation I was told it would be expected to have the first season ready to go when pitching the pilot.

@Philo. Congrats on the pilot btw. Are you involved in the Production?

Congratulations on having a pilot in production, Philo Kvetch!