I've had several unproduced and unrepped friends who have gotten their material optioned with legit producers from sending an awesome query letter.

When I get a story idea that I am excited about I like to test it out as a logline.

The logline usually shows me:
a.) Whether there is enough there for a feature length script
b.) What genre(s) would work best
c.) Would I care to see this movie if this logline was on a movie poster

@Russell: Quite true and especially with managers nowadays who act as rep and producer. Much more open to receiving unsolicited material than agents (I base this observation only on anecdotal evidence from what I hear).

@Jason: Good points on all three, especially #1 and #3 as that is the same precise thing a Hollywood buyer thinks when they hear a story concept.

My advice...

If you query that way keep it as brief and personal as you can.

Some folks like to throw all of their addresses in the "to" field and blast away.

Take the time to approach these folks by name. You've taken the time to find their address... use it wisely or else it could come off impersonal or worse... a query blast service.

For example...

---------------------------------
March 17, 2011

Scott Myers
GITS Productions
Penthouse
777 Bling Bling Avenue
Los Angeles

Good Morning Scott,

Logline here

May I submit a freshly polished PDF of the script for your consideration?

Sincerly

Donald Trump
----------------------------------

Then get the hell out of there.

Short, but personal.

And if you do not generate any response -- could be your logline.

I tweaked mine several times and the read requests increased.

With that said... I will NEVER begin a story without a logline firmly in place. But that's another story for another day.

Just my two cents...

Happy St Paddy's Day.

@Courtney: Thanks for that. Good advice I think.

You bringing up Predator reminded me of a question I had related to franchises. In the case of last year's Predators (and every flick the Predator character has appeared in), Jim and John Thomas have received credit for the character(s) they created. Knowing not all of these situations are the same, do you have an example of how that credit translates into a payout? Is it like a residual payment? Are there WGA minimums or is it strictly based on whatever that origin script deal dictates?

@Corey: Good question. I got co-characters created by credit on the two K-9 DTDVD sequels, but I don't recall getting any money for it. Perhaps another area where I should have gotten a damn good lawyer.