Screenwriting for Profit

Andrew Stevens, author of Producing for Profit (Focal 2017), and the DVD/download film school series Foolproof Film School, has mastered almost every aspect of the entertainment business. From creative filmmaker, screenwriter, director, and producer, to corporate executive, leader in trade and union negotiations and collective bargaining, Stevens has guided the creative development and physical production of over 175 motion pictures, including the hit comedy The Whole Nine Yards and the cult classic Boondock Saints, and his films have generated over $1 billion in worldwide revenues. In his several successful motion picture companies, he has guided international film sales, domestic distribution, finance, publicity, and marketing. A former award-winning and Golden Globe-nominated actor, he continues to be active in the motion picture business as well as being an author, educator, motivational speaker, and industry consultant. He served for a decade on the board of directors of the International Film and Television Alliance (IFTA) and also served as chairman of the Independent Producers Association (IPA).

"Andrew Stevens is responsible for the careers of many new writers, producers and directors."—Roger Corman, Oscar-winner, Legendary Independent Filmmaker/Producer"Andrew’s work is fantastic!" —Jackie Collins, The New York Times Bestselling Novelist"Screenwriting for Profit navigates through all the pitfalls a writer will experience in trying to sell their screenplay and takes the writer beyond the computer screen and into the real world of getting a script sold. Even the greatest script is worthless unless it has the potential to get made. Andrew lays out from idea to conception his insider knowledge that will help a writer go from novice to professional. Before a writer takes their first meeting, they should give Screenwriting for Profit a read."—Peter M. Lenkov, Emmy Nominee, Writer/Executive Producer: Salvation, Hawaii Five-0, R.I.P.D., MacGyver, CSI: NY"Great! It is different than other books that focus on the writer’s process. I love that this book captures a salty, wise, practical tone, and it feels very refreshing. Chapter 15 alone is reason enough to buy this book and reason to recommend it to writers. I certainly wish I had read this before I headed to my first film market. I really enjoyed this work and I recommend it."—Noah Workman, Partner, Iris MediaWorks"A fantastic job! Andrew Stevens nailed it!"—Richard Christian Matheson, Author/Producer: The A-Team, It Waits, Three O'Clock High "Andrew's book is a valuable resource for any writer. I very much enjoyed the book and would have killed to have a resource like it when I was first starting out – it would have saved me a lot of time. There are lessons on story, structure, character and craft. In addition, the business – the business of writing and the business itself – is demystified in a way that pretty much draws a map from being a hobbyist to becoming a professional."—Sean McGinly, Academy Nicholl Fellowships in Screenwriting semifinalist, Writer/Director: The Great Buck Howard

• ForewordPrologue Chapter 1: Critical Criteria Before Determining Your Subject MatterChapter 2: The Independent Film and Television Alliance and the American Film Market: Services and Opportunities that Benefit ScreenwritersChapter 3: The Cannes Film Market and FestivalChapter 4: Writing for the MarketplaceChapter 5: Building a Career – Everyone Starts SomewhereChapter 6: Historical Context of the Recent Evolution of Media Gives Writers PerspectiveChapter 7: Screenplay Structure and ComponentsChapter 8: Inspiration, Sequels, Remakes and Re-bootsChapter 9: Character Development from Actor’s PerspectiveChapter 10: Screenwriters PerspectiveChapter 11: A Director’s PerspectiveChapter 12: A Producer’s PerspectiveChapter 13: Writing for Cost Effective Budgets Chapter 14: FinancingChapter 15: Writing is a Team SportChapter 16: Studio Due Diligence: How the Big Boys Cater to the Little BoysChapter 17: New Media – New Model – As Significant as the MajorsChapter 18: Non-Union vs Union WritersChapter 19: Writers ProtectionsChapter 20: Non-Disclosure, Non-Circumvention and Confidentiality AgreementsChapter 21: Screenplay SubmissionsChapter 22: The Pitch