Scriptcat’s spring screenwriting tips for your adventure in the trenches…
April 2, 2017 § Leave a comment
Ah, spring is in the air. The time for a fresh start when your ideas begin to bloom. I hope you’ve created new opportunities that have pushed your screenplays closer to success. Trust me, I know if can feel like you’re banging your head against a wall hoping for a breakthrough, but finding the same results of rejection and criticism. I truly hope you’re busy creating a solid body of work and forging ahead on your screenwriting journey. I hope that I’ve been able to offer a few nuggets of advice that you’ve found helpful. In addition to my tips on Twitter (@scriptcat) and my Youtube Channel .I’m also broadcasting live on the new app PERISCOPE. Check it out. Thanks for reading and as always: Carry on, keep the faith and keep screenwriting. Okay, let’s cut to the chase and get right to the action—here are a few more useful survival tips for your journey…
ALWAYS ACT LIKE A PROFESSIONAL IN EVERY ACTION YOU TAKE IN HOLLYWOOD.
Act like a professional even if you’re an aspirant writing who has yet to sell something. As a screenwriter, you must consider writing a job and this helps you to think of yourself as a professional. As with any job, it comes with deadlines, requirements and expectations, so it’s good practice to follow professional disciplines as you prepare for the time when you do get paid to write. If you train yourself to work under a deadline, it’s not a shock when the producer requires you to complete a script by a certain date. It’s no longer the romanticized dream of spending endless time working on your spec to get it just right—it’s “go time” and you’re now playing in the big leagues—exactly where you belong. The producer or executive expects greatness from you and you generally have six to eight weeks to deliver the first draft and its excellence will decide if they keep you on to write a second draft, or fire you. This is not the time for a “vomit draft.” If you start meeting your own deadlines when writing your specs, it will be easier later when they pay you under contract to meet a deadline.
DO NOT TYPE “FADE IN” IF YOU CAN’T HANDLE CRITICISM.
Don’t take criticism personally and realize that it’s part of the process. If you’re going to play in the majors, you’re competing with the best and you must accept that sometimes you won’t find the validation you need. Many times feedback on your script is disappointing and your high expectations become squashed. Your ego’s bruised, beaten to a pulp and you to doubt your talent and chances for success. Don’t take it personally, because feedback is a rite of passage necessary for the growth of any aspiring screenwriter. If you want to survive over the long haul of a career, you’ll need to toughen up and build your courage to endure disappointment criticism and rejection. Learn how to filter the good notes from the bad and ugly notes. As you embrace this process, you’ll begin to look at constructive feedback as a positive experience that helps make your script better, helps push it closer to something a producer wants to produce, and teaches you how to collaborate as a team player so you can work again.
LEARN THAT TALK AND INTEREST ARE FREE AND CHEAP IN HOLLYWOOD.
You’ll learn the longer you pursue a screenwriting career that talk is cheap in Hollywood and people want credit for their good intentions. Too many times the words are empty promises that end up wasting an eager and hungry writer’s time. Money makes it real. Take everything as face value for talk is the cheapest commodity in Hollywood. Many times interest in you or your script and the endless talk is just that—interest and talk. Many times meetings are just meetings. Many times a producer’s upbeat attitude about your project can become infectious. You want to believe that others see your dream and can realize it. Why not? It’s what keeps us going as screenwriters—belief in our projects and the faith that success is just around the corner. I’m sure when producers and executives tell you that your project is going into production, they just might believe it themselves, but sometimes they tell a writer this to buy more free time. Producers want to keep a writer’s interest in hanging on until they “work out the pesky financing details” and it becomes the bait for more free work. If they can’t raise the money for the budget or they have no money in their development budget, there really is no money to pay the writer. Be understanding to a certain point and look at every situation through a risk/benefit filter. Are you willing to risk your free time with free rewrites on the possible chance a project “might” get produced? Get excited when a producer gives you a contract, you both sign it and you get paid. That’s the professional way—otherwise, you can’t live on the currency of good intentions. Now get back to your blank pages. If you stop writing you’re guaranteed never to have any chance at success.
Keep writing and filling your pages because if you stop—you’re guaranteed to never have any shot at success. This is a business with no guarantees even when you do sell a screenplay.
Copyright 2017 by Mark Sanderson on MY BLANK PAGE blog.
If your passion drives you to embark on this crazy adventure of a screenwriting career, you’ll need to prepare for survival in Hollywood’s trenches. Talent is important, but so is your professionalism and ability to endure criticism, rejection, and failure over the long haul. My new book, “A Screenwriter’s Journey to Success” will help you prepare for your own journey with the necessary, tips, tricks and tactics that I’ve developed over the past twenty years of working in the film industry. It’s time to start living your dream as a screenwriter in Hollywood. Available now on Amazon. Click on the book cover for the link to purchase.
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“Do you have the patience to wait until your mud settles and the water is clear?” ― Lao Tzu, Tao Te Ching
“Deliberate practice, by its nature, must be hard. When you want to get good at something, how you spend your time practicing is far more important than the amount of time you spend. Regular practice simply isn’t enough. To improve, we must watch ourselves fail, and learn from our mistakes.”—Florida State University’s Anders Ericsson
“If you’re worried about failing, you ought to get into a different business, because statistics will tell you that sixty or seventy percent of the time you’re going to fail. By fail I mean that the movie won’t make money. Just do the best you can every time. And if you’re going to stay in the movies, and you like movies—and I love them—you’d better love them a lot, because it’s going to take all of your time. If you want to be in the movies, it’s going to break your heart.“—Richard Brooks, director of Blackboard Jungle, Sweet Bird of Youth, In Cold Blood, Looking for Mr. Goodbar