Don’t limit yourself to one storytelling medium. Write them all and diversify to have any shot at success…
October 4, 2015 § Leave a comment
The story of my own personal screenwriting journey? I started screenwriting back in the days when the lines were clearly defined for the mediums—either you wrote features or you wrote television. The feature agents during that period would always say, “I don’t know many people in television.” It was also a time when the networks and studios didn’t blur the lines either between the mediums or talent. A feature film actor would not be caught dead on a TV series as it would be looked as a demotion. If you wrote for both mediums, a rep would make you choose which one you wanted to pursue—but never both at the same time.
After I graduated film school, I solely focused on writing feature screenplays on spec and my agent (s) at the time only went out to those producers and companies in the feature film world. That was fantastic, but only if you eventually did sell your specs. Otherwise it was like banging your head against a wall each time—taking a few steps forward and then falling on your face, only to go back and do it again and again only to experience the same results. I believe they call that “insanity.”
And only focusing on one medium is extremely limiting to a screenwriter. The odds are astronomical to sell any spec especially from an unknown, uncredited screenwriter. It’s like stepping up to the plate and hoping for a grand slam home run every time out. Difficult at best and impossible most of the time. And the odds become worse to secure any work if a writer cuts out the entire business of television. Back in the day, those working in features looked down on television as lowbrow and all of us eager film school grads focused on selling our million-dollar spec like we read about in Variety every week. I went to UCLA Film School and our alum writer/director Shane Black (Ironman 3) had sold a little script he wrote called Lethal Weapon for huge money and then he went on to a $4 million sale with The Long Kiss Goodnight. Looking back, I should have gotten into television, as I had close friends who were running shows, but alas I focused on features and time marched on.
Thankfully, the business has changed and now writers are free to work in television, features and the web without being pigeonholed into just one medium. Many agree that television is going through a new golden age where the most interesting ideas and series are causing the big talent in the feature world to take notice and many enjoy doing both features and television.
Many of the biggest Hollywood directors like JJ Abrams, Ridley Scott, Martin Scorsese, Steven Spielberg, Ron Howard and Josh Whedon are now working in television and producing shows. And many of them actually go their start in television, transitioned into features and now are back working in TV. It’s no longer considered a demotion. This is why as a screenwriter trying to break into Hollywood you need to diversify your talents. Don’t just focus on writing features alone. The Scoggins Report Spec Market Scorecard for 2015 listed only 93 feature scripts selling in Hollywood. Horrible odds, right? So why keep banging your head against the wall in only one medium where your projects are not selling—for a myriad of reasons?
You must diversify as a screenwriter if you want to stay in the game over the long haul. Write a web series, write a half hour and hour pilot for television, or write short comedy sketches. I’ve been blessed during my career to get paid to write for all mediums: Indie feature films, TV movies, a web series, a game show, sketch comedy for a live show, and both a half hour and hour pilots for television. This has allowed me to work on a regular basis because I have my material out into these worlds—not limiting myself to only the world of feature scripts where the business has changed dramatically. It’s more difficult than ever to sell an original spec given there are fewer films being made and Hollywood’s obsession is producing big-budget tent-poles that are remakes or properties they already own. It’s a huge gamble for a studio to buy a spec from an unproven writer and the idea does not have built-in global audience recognition.
So if you’ve stalled and crapped out with your feature specs, trying to get agents, managers and producers interested and finding yourself with the same results every time out, maybe you should consider changing your writing medium? It’s important to have writing experience in different mediums because if you happen to go up for a job, you’ll need the experience and a solid sample to represent you. It also opens up more possible places to work. Don’t cut yourself out of the television world or the web. I had never written a web series before until I met a director and producer who had a fantastic idea and we formed a company to create this new project. I wrote nine episodes of the first season and the project is out to investors. It was an invaluable experience for me as a screenwriter to now have this experience and it’s a solid project that opens up even more opportunities for writing. I also just finished writing a TV sitcom pilot on assignment for a producer and luckily I had done my spec work over the years and had solid samples in that medium to represent me. My samples got me the gig because of the similar humor and tone the producer wanted and my specs showed that I could deliver.
As you probably have experienced, it’s a long slog journey to reach any level of success in this business as a screenwriter. Don’t limit your writing to only one medium because you hamper your chances to secure any writing job in this very competitive marketplace. Yes, you can excel in different mediums because you are a writer and that’s what writers do—write. Of course it will take time to prepare solid samples in the different mediums, but it will be worth the effort when you secure a job in one that leads to another. Eventually it becomes necessary to become a multi-hyphenate so you can have more creative control over your material and not just be a “hired gun” every time out. But baby steps at first—study your craft, become a solid writer, and keep writing solid material in different mediums to expand your chances for any success.
Keep writing and keep the faith because if you stop you’re guaranteed never to have any shot at success.
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“So the only environment the artist needs is whatever peace, whatever solitude, and whatever pleasure he can get at not too high a cost. All the wrong environment will do is run his blood pressure up; he will spend more time being frustrated or outraged. My own experience has been that the tools I need for my trade are paper, tobacco, food, and a little whiskey.”—William Faulkner
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