Reader Question: Is this a good time to be writing a script aimed at children?
From Marc Teichman:
I have a question that some others may be interested in, but I haven’t seen the topic talked of too much by readers. The script I’m currently writing is in the childrens/young adult category. I feel like I’ve got a great story here and I believe it’s on it’s way to being a great script. That aside (since I could be completely wrong), I’ve noticed that not many spec scripts sold this year have been in this genre. It seems to be mostly comedy, thriller, action, found footage, etc. And most of the movies in this genre seem to be based off of books (HP, Twilight, Hugo, Tintin.) Have I dug myself a hole here, writing this type of script? Will studios be more wary of an original idea in this genre as opposed to others? I really hope I find your answer comforting!
First off, let’s be clear: A children’s movie and a young adult movie are entirely different things. The YA market (12–18), as far as I can tell, is quite strong. Granted in terms of Hollywood deals, most of those are novels or book series, but then you have projects this year like “2084” which is an original movie idea being concurrently developed as a YA book series.
On the children’s side of things, there is a spread of 0–11 years old which currently numbers 50.5 million members in the U.S. and will grow to 55.9 million in ten years time. Believe me, Hollywood is well aware of that group, especially since the earlier they can impress children with their brand [think Disney], the more likely, the thinking goes, those kids will be loyal to that brand for life.
But even here we need to draw a distinction. Are you talking children 0–5? 6–11? There’s even the Tween designation of 8–12. A writer may not be cognizant of those different target demos, but you know damn well a studio’s development and marketing groups are hugely aware of them.
So if you were smart, Marc, you would step back from your story and ask yourself this question: Who is my target audience? Be specific. If you try to write a story that tries to appeal to all youth groups as its primary focus, you’re very likely to end up with a story that strikes a chord with none. Again for which specific target audience are you writing your story?
[Here’s a tip I’ve heard from more than a few writers and producers: Conjure up the face of a person who represents your target audience. One way to do this: Flip through magazine advertisements until you find a face representing the age and gender of the type of person you are targeting. Cut out that photo. Keep it at your work station as a reminder who your audience is.]
Now it’s not to say you can’t have Young Adults as your primary target audience and Tweens as your secondary group. But at least you have a specific idea about what type of story you are writing and a touchstone to guide crucial narrative choices along the way.
Circling back to your concerns about the spec script market this year, you are right: Very few family scripts have sold. And you are likely right, too, that most studio deals in that area this year have been books or real life stories. However don’t forget “Dog’s Best Friend”, a family spec which sold just 4 days ago: “A “free-spirited” dog and his commitment-phobic master break up a dognapping ring.” Written by Ben August, a first-timer to boot.
Bottom line, if you write a great story, it doesn’t really matter what the market is or isn’t doing. When a great script gets tossed through Hollywood’s transom, a deal happens somewhere. Studios have slates and on those slates they basically cover all genres including family films.
So go write that script. But make sure you understand who your target audience is. Because as any parent can tell you, the differences between a 4 year-old, a 7 year-old, an 11 year-old and a 16 year-old is ginormous.
What about it, GITS readers? Do you have any advice for Marc? Anyone else out there writing a family script?
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