Earlier this week, a contributor deleted a post, which is unfortunate because it was a solid illustration of what can happen when you venture from writing specs to adapting material from other sources. This includes rewriting/reworking screenplays that producers should scrap. Over the past twelve years, I’ve gone down many rabbit holes by failing to manage expectations and poor planning in delivering work to folks who want to be raconteurs but lack the requisite skills to write a feature or teleplay. Let alone get it made.
This year, I’ve turned down work from producers who asked me to rewrite material and then creatively hamstrung me by insisting on retaining large portions of poorly written work and downright terrible storytelling. I've learned not to waste my time with that potential situation. One of the biggest problems with producer/filmmaker-supplied treatments is most of them offer a basic premise and brief sketch of characters or, worse yet, complicated character maps that also inhibit a writer’s creativity.
Recently, a producer/associate sent me a treatment with legs but lacked many of the essential elements of a compelling story. We had a Zoom meeting, and I offered my initial story ideas; from there, I told him I’d spend a week outlining and then craft a treatment, which was eight pages. I sent it to the producer and told him it was a complete story summary, but I would add more scenes and any ideas that spring up while writing the first draft. He told me he loved the treatment, had nothing to add, and asked me to proceed. I’ve already made a film with this producer, but my goal on this new project was to be clear on tone, theme, and plot points before committing to writing one page of a feature screenplay.
The takeaway is to understand what your client/creative partner wants and walk away from anyone who holds too tightly to their story ideas. Unless someone is paying you a reasonable fee with at least fifty percent upfront, it’s more aggravation than it’s worth. I’m doing this project because I can work with what is provided; the producer works with many writers and trusts me, and he gets films made. Failure to manage expectations will be a drain on your time and creativity. Trust me, I’ve climbed out of one too many rabbit holes to want to continue wasting time on projects with unclear objectives and no chance of funding.
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Yes, I think people have to kill their ego's and trust the writer(s), just keep the "essence" of the story, nothing more. And then build.
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I can't suppress my ego to write for other people what they want. That's why I stopped trying and I'm writing only for myself.
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Great topic, Phillip E. Hardy, "The Real Deal"! I've been in situations where I didn't understand what a client/creative partner wanted and they held on too tightly to their story ideas. Big headache! I either did the extra work to satisfy the client/creative partner or walked away from the projects. I make sure I understand what a person wants up front now, and I make treatments for them to read/I discuss their ideas with them up front to make sure they're open to me changing things (if I need to).
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Dan M: This gun is for hire. However, I do risk assessments of "Industry people," which include checking IMDB Pro for fresh film credits with established actors and queries on funding streams and distributors. I won't work with some boutique agent with weak credits or filmmakers who have only made shorts. My empirical experience tells me that's a waste of time.
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I did my first rewrite on assignment this year and, surprisingly, loved the experience. I had some harsh feedback too, but was prepared to get booted off the project if they didn't like to hear it. The people make all the difference. I've got another potential couple coming up. I do them uncredited.
I have found myself in the awkward position where I've been asked to look at rewriting scripts penned by people I know of.
I agree about getting 50% up front too, and the fee has to feel rewarding.