How to get hired for a Screenplay Open Writing Assignment

Selling an original spec is only one way to break into the industry. Another way in is to go up for an OWA. Here's how to get one.

As a literary manager, I am inundated with requests from producers and studios for writers to “pitch a take” on projects the studios want to develop.

In the execuive’s dream scenario, this take is coming from an A-List superproducer who is a household name, or at least someone who has a track record of creating hit TV shows.

But alas, you can’t always get what you want.

The supply of talented Showrunner level writers is miniscule compared to the demand for them.

On top of that, unless it’s huge IP that promises a massive payday, most Showrunners prefer to work on their own ideas.

This leaves hundreds of Open Writing Assignments (OWA’s) available for newer writers to have a crack at.

An OWA comes from:

• a book

• a short story

• an idea (usually in the form of a one-pager that the producer wrote)

• a movie they want to adapt as a TV show

• a TV show they want to adapt as a movie

• a kids’ toy or game

• a videogame

• a newspaper or magazine article

• someone’s life rights

• any other IP

Either the studio already has the rights to the IP in its vast library or has recently optioned or purchased them.

The next step is to find a writer to turn that material into a producible screenplay.

Photo by JESHOOTS.COM on Unsplash

Here’s how to make that writer you.

Step 0: Master the craft.

Before you start thinking about “breaking in,” I cannot stress enough the importance of the mechanics of learning the craft.

This means taking classes, studying theory, and engaging regularly in Practice Writing. Too many writers spend years perfecting their sample but neglect to strengthen their storytelling skills in a replicable way. You need to get repetitions in with regards to cracking stories.

Once you show that you can solve big story problems off the cuff, you will demonstrate that you are an asset to producers and executives.

That’s what will make them want to hire you.

Step 1: Sign with an agent or manager.

Personal networking is important and will take you far, but the OWA game requires representation.

Literary agents and managers talk with producers on a daily basis. We hear about development mandates and projects that our writers would be perfect for. If a producer is looking to hear a writer’s take on their IP, it means they have likely already invested money into this project. They want to hire a professional. Only considering writers represented by reputable management companies adds in an extra layer of vetting.

If you’re looking for more detailed advice on how to get a manager, here is a step-by-step guide on how to start your search, a detailed list of common mistakes to avoid when querying, and a guide to expanding your entertainment industry network.

Step 2: Hear about the OWA.

Once your manager hears about the OWA, they will send it to you and ask if you’re interested.

Make sure you check your email regularly, or save your manager and their assistant as VIP’s in your inbox so you get notifications whenever they send you a message!

Submissions can move at a fast pace, and if you don’t respond in a timely manner, you could miss out on being included for an opportunity.

Step 3: Decide if it’s right for you.

I send my clients tons of OWA’s that I think they might be interested in.

I also instruct them to “pass on” (say no to) 99% of them. This is because (as you’re about to see), pitching on an OWA is tons of free work up front in the hope of maybe getting paid later.

I don’t want my client wasting their time if this isn’t something they’re super passionate and excited about.

And if they’re not passionate or excited about an idea, they’re going to do a half-assed job on it and not get hired anyway. This will not engender a positive relationship with that development executive and ends up being a waste of everyone’s time.

It’s less work for everyone and a better potential upside if you only go up for an OWA you absolutely love and are obsessed with.

Your response should be “I love this idea, and I personally can nail this take in a way that no other writer is equipped to.”

Step 4: Manager sends your sample to the executive.

Having a strong portfolio of samples in your wheelhouse is essential.

Because if you love an OWA but don’t have an example of a time you have written an amazing script in that genre, you’re not going to get hired.

Make sure that you work hard on keeping your samples up-to-date, as strong as possible, varied, and an accurate example of your ability to execute great work.

Photo by Waldemar on Unsplash

Step 5: Meet with the executive generally.

Sometimes your rep will set a General Meeting before you hear about the OWA.

If this is the case, the executive might tell you about the OWA in that meeting. If your rep submits you for consideration and the executive hasn’t met you before, they’ll want to sit down with you and talk more about the project and what they’re looking for.

This is sometimes referred to as a “pre-call.”

If your manager tells you that an executive wants to hear your take, don’t be afraid to ask to get on the phone with that executive and ask any questions about the project.

Step 6: Ascertain as much as possible about what they’re looking for.

When you meet with that executive, you are in information gathering mode.

You’re about to go off and put an entire pitch together.

This will be your one shot to make sure that you give them everything they need to know about your vision for this project that will make them want to hire you. Ask as many questions as possible about what they are looking for in this take.

Some questions to keep in mind:

• Are you looking for a feature or a TV adaptation? (if they say “either,” you should pick one for your take. Make a choice and run with it).

• What elements from the IP are absolute “must includes” in this series/movie?

• What elements from the IP do you not want to include or don’t care if they are included or not?

• Have you heard previous takes on this? What, specifically, hasn’t been working?

• Are there any story areas you want to stay away from?

• What themes do you want to make sure are addressed?

• How flexible are you? Do you want this to be a faithful adaptation, or are you looking for something more out-of-the-box?

• What challenges have you faced when it comes to developing this story? What have you found writers really struggling with?

• What tone should the show/movie have? Are you open or flexible with the approach to tone or genre?

• Who is your ideal buyer here? How does this project fit into the demand of the current marketplace?

• Who is your ideal audience here?

• Will the original author/source/star/producer/person its based on be involved in the development process? What do they want to see in this pitch? What do they want to make sure we stay away from?

Take as many notes as possible. This is a job interview, so gather all the information you possibly can.

The executive will probably offer you their email address and tell you to reach out if you have any further questions. Take them up on this! Don’t be afraid to email them if you need any clarification about anything that you realize you forgot to ask about in your meeting or call.

The executive wants this project to get made. They want you to be their solution here (That means they get to stop interviewing writers).

Use them as the resource that they offer to be.

Step 7: Craft your take.

Take a couple weeks to put together a detailed, thoughtful pitch for your vision of this series or movie. Use this formula.

Make sure that your individual fingerprint is on this pitch. If you want them to hire you as opposed to a more experienced, more famous writer, you need to demonstrate that you have a unique, personal angle into this story. If you execute an obvious take here, odds are that some other writer has also come up with a similar version, and that writer probably has more experience than you.

It’s better to take a big, creative swing here than to play it safe. The more you stand out, the more you have a chance of impressing by being memorable.

Step 8: Practice your pitch.

Practice your pitch with a friend, your partner, or a family member.

Incorporate their feedback.

Then practice your pitch with your agent and/or manager. Incorporate their feedback too. When you go in to meet with this executive again, you want to feel prepared and confident.

Step 9: Set a pitch meeting with the executive.

Either you can email the executive directly, or you can ask your manager to set the meeting.

Step 10: Pitch your take again to everyone else involved.

If the executive likes your pitch, they will schedule a meeting to have you pitch it again, this time to their boss. Then you will pitch to their boss’s boss. Then any other Executive Producers attached to the project.

Wouldn’t it be easier to just set one pitch meeting and have everyone be in the room at the same time?

If you have made it this far in Hollywood, you should know by now that nothing in this industry is rooted in logic or efficiency and therefore this question is absurd.

Step 11: Company decides which writer they want to go with.

Maybe they have been looking for someone on this project for forever.

Or maybe they came to you for a take exclusively (okay, hot shot!)

But the most common scenario is what is called a “bake-off.” As the name implies, it’s when multiple writers all pitch on the same OWA and the executives decide which version, which writer, and which set of credits they want to go with.

Now you can see why it’s so important to charm them and then craft a vision that will stand out from the pack.

They’re choosing which idea and which writer they want to work with the most. Make sure you’re convincing both personally and creatively!

Step 12: Negotiate the deal!

If they want to go with you, congratulations!!! You’re getting hired to write a script. There is still a long road to getting something actually produced, but on the bright side, you’re going to get paid to do this work.

Your manager and/or agent will negotiate the deal and your lawyer will hammer out the longform.

Step 13: Kick-off call.

The producer team will reach out to set a “kick-off call” (aka a meeting to get this project started).

Answer emails from the assistants at this company promptly. This whole experience is an audition. You want to work with these people in a way that makes hiring you again in the future a no-brainer.

This includes responding to scheduling emails promptly.

Step 14: Commence writing.

Once the producer tells you to get started, you’ll work on the first step as negotiated in the deal.

Then your manager can invoice them for Commencement!

Congratulations, you are now a paid Hollywood screenwriter.

Want to learn the step-by-step process of how a book gets adapted for the screen? Click the link below for instant access to the webinar with a Media Rights Expert: