"What's the best way to break into screenwriting?" writers ask at every event I've attended this year. Some forthright answers to this never-ending question were provided at a recent Barnes & Noble Screenwriting Marketing Event by entertainment attorney and screenwriting instructor, Ron Suppa.

"Somehow," as George Lucas has said, is the most concise answer, says Suppa. In order to "break in," you have to know what "screenplay marketability" means. It's not writing what "sells." It's really simply research - to determine which markets are suitable for your particular work. Reading the trades, studying screenwriting marketing books, and, above all, having a plan.

"There's a lack of awareness in the business about marketing," said former entertainment attorney turned screenwriting instructor, Ron Suppa. "Most courses focus on craft, but a screenwriter really needs to know just as much about marketing as he does about writing," he went on. Having worn the hat of film company executive, been a produced screenwriter and having produced ten features himself, Suppa knows what he is talking about.

"A first, second and even third spec screenplay by a new writer will probably not sell. What specs may do, is get you hired on assignment." So, there is certainly no reason to give up after your first screenplay if it's not well-received. If you get feedback on your work, consider the source and determine a) Are these changes viable? Would I do them anyway?; and b) How important is this contact? Do I want to work with this person? If no one else is interested, it may serve you well to get the experience under your belt and be a chance to improve your writing.

Most produced screenplays come from development ideas that are refined by a hired writer. Though studios generally only hire known writers, producers, particularly independent, are far more liberal about whom they hire.

Contrary to what many believe, you can get assignments as a new writer, once you have established your writing ability. "Your specs will prove that you can write," says Suppa. Based on your ability, and the genre you've written, producers may ask you to write a screenplay which they are interested in developing. And that's really all you need to begin a screenwriting career.

"You really need to develop yourself as a professional to make it in this business," he says. "Remember, you're writing to be produced." In screenwriting, unlike publishing, eventually, you've got to leave your safe, little world to mix and mingle. "Screenwriting is a collaborative art," and a lot of your success is dependent upon your personality and how you deal with people.

So how do you get to that point?

First, you have to have some sort of plan. This can be anything from a list of possible producers, to a full-fledged business style plan which has checklists and target points. The more serious you are about targeting the right people to query, the better the chance you have of finding them. Who are the "right" people? They're the ones who have done or are doing similar projects to the one you want to pitch. They're in the trades, in the news and the Hollywood Creative Directory. Keeping abreast of what is happening is half the battle. It's the only way you're going to know whom to pitch to.

Once you have a "plan" in place, you can begin to contact people with queries. The Hollywood Creative Directory lists addresses, fax and e-mail addresses. I'm aware of more than moderate success from those who have e-mailed producers with queries. "Only send your work out upon invitation," says Suppa. "Scripts that are sent out without an invite are thrown into a slush pile," he explains.

"Be careful who you send your work out to," Suppa cautions. Keep logs and meticulous records, so that you always know where your work is. Register your work with the copyright office, to protect yourself, but realize that you must take some form of calculated risk in terms of getting your stuff out there, if you are ever to sell anything.

Using the copyright office is good forever, and it is the only legal method for establishing the time of authorship. The only advantage to using the WGA's registry service is that they will register anything, including synopses, outlines and treatments. The disadvantage is that their service must be renewed after five years.

"I don't leave anything behind [such as an outline or treatment]," after a pitch meeting, Suppa explains. "If they ask, I say I don't have anything." If they press the issue, "I say, hire me." Instead of turning in a synopsis or treatment, "give them a script," he says. Makes sense. As veteran screenwriting academic Lew Hunter says "You . . . want to be script writers. Not outline writers."

"Most theft," he continues, "occurs in television." Since television writers are always under the gun with deadlines, there is more of a chance that something of yours could wind up being used there, than in a feature. "Television work is mostly staff-written. It takes a lot of time and effort to prepare a writer for a TV show, learning story-line and characters, so it isn't really worth their while to work with a lot of freelancers."

Therefore, if you get an opportunity to pitch to television, go with a well-known agent to prevent any misunderstandings. The best way to protect yourself, of course, is to submit your work through known channels, such as agents, actors, producers and other writers whom they respect. Barring that, utilize resources such as the Hollywood Creative Directory to find suitable producers to pitch your work to. Follow-up on your initial queries with phone calls in two weeks. After solicited script submissions, a minimum of 4-5 weeks. You must be courteous and allow enough time for them to review what you've sent them.

"You can create your own buzz," Suppa says, by making everyone aware of just whom is reviewing your work. It serves two things: being up-front about where it is and shows your seriousness about marketing it.

Once you get a potential option, structure it so that there is a non-exclusive, that is, limited ability to shop your screenplay so that if you manage to find other interest, you can pursue it. In this way, you're not tied to one producer/entity.

And when you do get a bite, you can usually get an agent to rep you when you have a deal on the table. Either way, it is wise to have an entertainment lawyer look over the paperwork before signing any contracts. Especially if it goes beyond a minimum deal. Still, it doesn't hurt to have a trained eye review everything before signing on the dotted line. You can find affordable legal referrals California Lawyer for the Arts and the Writers Guild.

It's your call, as to non-contracted rewrites. It's important to determine which notes are viable - which ones you may do any way, before tearing apart your work. You have to decide if spending the time to do the rewrites is worth your while, and act accordingly.

Finally, here is what he suggests as steps to determine the marketability of your script:

"What does the audience want for them [the protagonist]" - Paddy Chayevsky

1. Themes from the heart (yours)
2. Viable premise
3. Recognizable genre
4. Great opening
5. Clear goal
6. Characters we care about
7. Balanced structure
8. Strong protagonist spine
9. One main character
10. Identifiable opponent
11. Conflict
12. Illusion of reality
13. Good dialogue
14. Visual content
15. Cathartic ending
16. Professional screen style & format
17. Rewrite & polish

"Always remember," he reminds. "A pass on your first script is no reason to give up." Writing is a practiced art. " Just keep writing."