NewEnglandFilm.com

This month’s questions do not have definitive answers because what might work for one person might not work for another. And, as is generally the case in the film business, unless you have a crystal ball, it is impossible to predict the future.

To go to a film school or not to go, that is this month’s first question followed by a question about InkTip.

Is film school worth the money? I’m interested in attending NYU (still waiting on acceptance), but will the 4 years there be worth the cost? Does film school provide screenwriting majors any opportunities for breaking into Hollywood? Or maybe I should be majoring in another career as a safety net of sorts. I’m not sure, I’m confused!

Let’s start with your first question: “Is film school worth the money?” Film school, and specifically New York University (NYU), is indeed very expensive and a huge investment. It can be (but no guarantees) “worth the cost” if you work hard and take the opportunity, to thoroughly learn your craft, and network at school and in New York City. Building relationships with your classmates, such as collaborating on projects and working on student films, writing as much as you can to build your portfolio, are just a few of the positive aspects of attending a screenwriting program at a film school. Certainly, studying with film industry professionals and getting feedback on your work from them is a wonderful opportunity; one in which you should take full advantage. Do not be shy (but always respectful) about asking your professors questions about their advice on breaking into the film industry and suggestions for any contacts they might recommend.

In terms of NYU or other film schools providing screenwriting majors any opportunities for breaking into Hollywood, first and foremost it comes down to the quality of your work. Your writing must stand out and you must be willing to put in the hard work to build a solid portfolio. You should research NYU (or any other film schools to which you have applied) and find out who their alumni are, their success stories, and career opportunities they provide. For example, do they offer placement programs or exclusive internship opportunities? It is important that you choose a school whose film and screenwriting professors’ work you not only respect, but with whom you also share some of the same sensibilities.

Choosing to go to a screenwriting program is a big decision! If you are passionate about screenwriting and film, and feel that you are ready for the challenges in this type of program, and that you absolutely and positively must write — then take the plunge. If you are hesitant, then consider taking a couple of screenwriting courses instead of majoring in screenwriting in order to test the waters to see if this is something you really want to do. And finally, having a safety net is not a bad idea to fall back on. Perhaps finding a balance is the way to go: take a few screenwriting courses and other courses that are of interest to you and take it step by step.

Good luck!

What do you think of Inktip? (http://inktip.com/)

My Su-City Pictures clients have had both positive and negative experiences with Inktip, as well as other online screenplay registries. What is a script registry? Generally, for a fee, screenwriters post a logline and/or synopsis of their script on an online database where film executives, producers, agents, and so on, subscribe to the registry. (They are referred to as “subscribers.”) If a post interests them, subscribers will request your script.

In many ways online registries are a positive venue for screenwriters, particularly if they have not had work produced or don’t have agent or manager representation. Many screenwriters with whom I have spoken over the years feel that online services like Inktip gives them a good opportunity to be more proactive in marketing their work and they have found limited success, while others had no results and felt they wasted their money. While InkTip and other registries may be useful, it all comes down to the quality of your writing. If your work has been consistently rejected by agencies, script competitions, and so on, then you need to consider whether your work is up to par. Maybe you have not submitted your best work, or have not been targeting the appropriate registry for your work.

As you would with any prospective agent, producer, or production company, you must research registries prior to submitting any material and use your common sense. Research the registry’s credentials; their subscribers must be experienced and established industry professionals. Registries with large databases of material and active subscribers, and a good track record are all a plus. Many sites list recommendations from their clients; note their success stories. You want a registry that keeps track of who is reading your logline and/or synopsis, and requires the interested subscriber to e-mail you for permission to look at your sample pages or to read the entire work. Choose registries that frequently have new subscribers join and subscribers who regularly look at posted work. Learn how long your work will be posted; the longer your work is posted, the more you’re getting for your money.

Before you submit your work to an online registry, register your script with the Writers Guild of America (WGA). (For more information visit www.wga.org.)