When you put yourself out there and keep doing the necessary work… opportunities will come your way.

The longer you chase your dream of being a professional screenwriter and slug it out in Hollywood’s trenches, the more you’ll realize just how difficult it is to sell a screenplay and if you do, to sustain a career. The years pass by fast, and Hollywood definitely works on its own schedule — never the schedule of an eager writer looking to sell a big spec or start a career. I offer this reality check only to keep you humble, focused on the necessary work, and always keeping your eye on the bigger picture of where you are going with your pursuits. A screenplay written without the thought of what it can do for you with regards to your ultimate career goals can be an exercise in futility.  If you want to be a horror genre screenwriter and that is your passion, don’t write a romantic comedy.  Stick to what you love to write and a genre that is your passion — and write the hell out of it.  You’ll be looked upon as less “scattered” when it’s time to get you on the studio rewrite lists for jobs. Agents and managers can also understand what you can do better than if you showed up with a western, romantic comedy, drama, sci-fi, and action screenplay. How can a writer be good at all genres? Most likely they are not.

Now let’s examine the role of a good opportunity that can help start your screenwriting career.  First of all, I believe you create new opportunities with every new screenplay. When your script is completely ready to be sent out and compete in the marketplace, it will serve as your “calling card” to showcase the best of your abilities. It’s rare your screenplay will sell on the first time out, but it can secure you a meeting or open a door with a production company. This can lead to a script assignment job — the bread and butter of working screenwriters. Today the business is all about intellectual property and developing existing books, news events, and even re-making old films. But the key is recognizing a good opportunity when it comes your way.

A few years ago, I took a rewrite job with a producer and because I did so well with the job, the producer hired me three more times — two were other rewrites and one was a script assignment of my own. I could have turned down the original rewrite job because I had to share credit (never an issue with me) with the original writer. I decided to jump in with both feet and plant my flag to showcase my ability to save the project that was floundering. You never know where one opportunity will lead and what doors it will open.


I recently had this discussion with a screenwriter who asked if he should continue to focus on writing his big-budget specs and hoping for a major sale, or should he write lower budgeted films at a company where he has a solid connection. I told him that fewer that 100 specs a year sell in Hollywood. In fact in 2021 only 34 specs sold. And if you consider the 50,000 scripts registered at the Writer’s Guild every year, the odds of selling a major spec to a studio as an unknown writer… well, you’d might have a better chance at winning the lottery. You have to seriously ask yourself what is the best use of your time.  Yes, some writers are willing to hold out, year after year, writing big budget specs as unknowns, hoping for a miracle sale to happen and hitting a wall every time out. As the years fly past, this pursuit can really affect one’s mental and financial health. Or, if you have an opportunity to write a movie with a company where it will get made, why not take that easier opportunity? You never know where your job will lead and you can build on the opportunity. What if you write a few successful movies for them, and then you ask to move into producing? Or maybe directing? And you’re learning production while you’re getting paid. As an unknown writer, you’d never have those opportunities at a major studio to start with your first movie.

And looking at the bigger picture, most writers end up where they never imagined. Your career will never be what you imagined when you were pounding out your specs at home. You have to seize upon a good opportunity to get past the gates, and then what you do with that opportunity is the most important thing. I told this writer to take the writing job with the company, low budget or not, because it’s real. Money makes it real. Not some promises of “interest” or talk of possibly an option. He will be a paid and credited screenwriter, and that goes a hell of a long way to getting the next job over someone who has never been paid to write anything. It’s also building those vital relationships as he will be working closely with producers and the directors. These relationships are vital to building the foundation of a screenwriting career.

At the start, someone has to take a chance on you. If you deliver the goods and have a productive working relationship, that’s when they offer you another job, and hopefully another — and that’s called a career. It’s being paid to do what you love for a living. Trust me, producers like working with writers whom they can trust.

Every screenwriter has their own idea of  “making it” and what a dream career looks like. I say you have to continue to “make it” with every new job after the first one. It’s not the romanticized idea of what a screenwriter’s life is like. There is no down time to rest. The hardest part of the journey is selling that first screenplay or being offered your first assignment job. Once you have a credited film, it’s a lot easier to find your next job because someone has already taken a chance on you. Always consider all opportunities that come your way. You probably won’t be paid a lot for your first few jobs, but you have to build the foundation of a career first before it can flourish.

Keep the faith, and keep filling your blank pages on your road to success.

Scriptcat out!

Copyright 2022 by Mark Sanderson on blog MY BLANK PAGE.

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“I have known Mark my entire life, and he is  absolute living proof of the grit and tenacity it takes to make it as a  writer in this business. Take your first steps toward your own career by  reading the words of this true fighter.”

Matt Reeves, writer/director
 (Dawn Of The Planet of the Apes, War For The Planet of the Apes, The Batman)

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 — J. J. Abrams, writer/producer/director
(Lost, Star Trek: Into Darkness, Star Wars: The Force Awakens, Star Wars: The Rise of Skywalker)

Scriptcat’s end of the year checklist…

new opportunity

Who can believe the year is almost over? It will be 2022 in a blink of an eye. It’s always a powerful tool to look back over the previous year and critically analyze the good, the bad, and the ugly choices you’ve made.

Hopefully, you’ve learned from your failures, from any criticism, and enjoyed your successes. Excuses abound, but what really matters is how productive have you been? Room for improvement? Have you become a better screenwriter and have you been able to move yourself and your projects down the field? Have you opened doors and gained new “fans” of your writing? Have you continued to build those vital relationships that matter over the long haul? Did you gain and hold new ground? Create a solid body of material in a genre to show your unique voice? All of these are important to any screenwriting journey to success.

The responsibility for a screenwriter’s career begins and ends with the screenwriter. The hard fact:  Your screenwriting career is probably the most important struggle to you and not to anyone else. Only you know the hard work and sacrifices you’ve endured to go after your dream, so you need to protect your career path by taking responsibility for chartering the course of your career. Your time is precious and you need to constantly be moving forward and avoid the pitfalls of poor choices and negative experiences.

Too many times, I’ve heard screenwriters blame others for their own missteps or lack of success in Hollywood. Some writers look for the quick and easy way to success, but end up frustrated when their one script doesn’t sell, they have no other plans and they are not working on new material. Sure, it’s easier to soften the blow to blame the agent, manager, producer, or Hollywood itself for not getting your film made, but screenwriters need to step up and take more control over their choices.

Every time you write a new project on spec, you must consider how it fits into the bigger picture of your screenwriting goals. It’s a risk when you write a spec and you are rolling the dice with your precious time. Did you just have a “fun idea” for a movie and thought it would sell, so you decided to spend months writing it? This is not an effective use of your time. If it’s your passion project and you must write it—do it and hopefully you’ve executed it properly and your passion will be there on the page.

Boulder Flat

Always have a purpose in choosing your material. REMEMBER: What you write about is as important as how you execute it — and just because you write it doesn’t mean they have to buy it or will “love it.” You’ll only figure this out after you meander through four or five scripts that don’t achieve the plateaus you had expected or do not sell. You’ll be forced to take a step back and examine your reasoning for embarking on the journey with each project. If you’ve been successfully making noise with a particular genre, continue to establish yourself as an expert in that genre. When you secure a writing gig, you’ll have steady work because you’ll be known for a genre. There is nothing wrong with being pigeonholed as a screenwriter. It means you’ll work and build up your résumé in a genre that you hopefully enjoy writing.

script odds

Trust me, bouncing around for years with different scripts in different genres hoping that something sticks is a fool’s endeavor. I’ve been there.  When something eventually hits and is a success, the producers will want more of the same from you in the way of screenwriting assignments—the bread and butter or working screenwriters. There is no shame in steady work in a particular genre. I find sometimes aspirants believe they’ll hold out and will only go with a script that is “their vision” and somehow it’s “selling out” to take a job offered writing something that maybe isn’t their favorite choice of material—but it’s a foot in the door. A writer with zero credits is still a writer without any produced films.

If you haven’t figured it out yet, the odds are already stacked against you and time marches on so quickly. Only 6,108 WGA members reported any income last year and of those, 5,013 were in Television (annual report ending in June 2021) out of nearly 13,000 members. Check out the 2021 ANNUAL REPORT FROM THE WGA. Think about those odds for a moment and then get back to work. And if you add the non-union screenwriters working… it can boggle the mind with more stats and there are no stats for non-union screenwriters working or not working. The main issue is that you must stay busy creating projects, networking, building your unique voice, and casting your best scripts wide to the right players. Your first job may be non-union and for little money, but it’s important to build upon any success and get that important produced credit. No career starts out on top. And it’s difficult to weather the storms of the long haul journey.

Master CoverR2-4-REV2

If you haven’t yet, check out my book, “A Screenwriter’s Journey to Success” with 43 FIVE STAR REVIEWS on Amazon or if you need in-depth screenplay consultation check out my services at my website.


So, it’s never too late, even though the year is nearly over, to grab a piece of paper and if you haven’t yet, set up a game plan for 2022. Hollywood continues to deal with Covid and all the protocols to produce films and production continues. Hit the ground running and achieve your goals every day of the week. Treat your screenwriting like a business—because it’s YOU, INC. and every decision you make affects your pathway to success. Ask yourself the hard questions: “Why are you writing this particular spec and will it serve you in the best way possible to create opportunities and open doors?”

Here are eight tips on my checklist to prepare for the new year:

1)  SCREENPLAYS! Make a list of all viable projects. Completed scripts and what condition they are in: ready to be read, needs a rewrite, needs a polish, only a first draft, etc. Add to the list any fleshed out pitches, log lines, one sheets, beat sheets or treatments. This is important if you cross paths with an agent or manager. They want to see you busy and prolific on your own. What do you have to offer? Do you have script only and nothing as a follow-up? You’ll need a solid body of work to standout and it will take time to craft these projects. It’s dangerous to be impatient and go out with a screenplay without having another solid project to back it up.

2)  ACHIEVEMENTS!  Make a list of your achievements in the past year. Scrutinize the successes and failures so you can see where you need to pick up the slack in areas where you need to focus in the new year. List any accolades—did you win or place in a significant screenwriting competition? Did you option or sell a screenplay? Did you graduate from film school?  Did you make any films, short movies, or a webseries on your own?  Did you work on a production or take an internship? List anything that shows you are working toward to your goals.

3)  SOLID CONTACTS! Make a list of any new contacts that you met by networking during the year. In January, make sure to send them a “First of the year—hope this finds you well—this is what I’m doing” e-mail. It will put you back on their radar and if you list a few interesting projects, they might bite and ask for a read. Also, instead of always asking for help, BE a good contact too. It’s not all one-sided. You are building “relationships” and not just contacts. These are vital to your continued success on your journey.

4)  DEADLINES!  Make a list of potential deadlines for any rewrites or new ideas. Keep true to these self-imposed deadline as if they were real screenwriting jobs. Do not deviate from the commitment for anyone or any external forces. Trust me, either on purpose or by mistake, people will try to derail your schedule and will think it’s not that important because you’re writing on spec. It is that important. It’s vital training for the time when you finally do get a job on assignment and you’ll know how to keep a deadline under any conditions. Find respected screenwriting contests that you may want to enter and use their entry dates as a goal and deadlines to finish your new material.

5)  NETWORKING! If you haven’t yet, start attending networking events in the new year. Become a member of the International Screenwriter’s Association ( ISA ) for workshops, webinars and in person events in your area. Join Scriptwriter’s Network and they have seminars and meetups every month in Los Angeles. It’s hard with Covid affecting in person events, but you can use Zoom and other apps to continue to stay connected. And don’t be afraid, get out of your writing cave and meet other screenwriters and network.  Help others and you will find they will help you.

6)  READ, READ, READ! If you don’t already, read scripts on a regular basis. Good scripts, bad scripts, classics—read! You’ll be surprised how much you learn from reading screenplays. Be careful of the screenplays that are posted during award season. Do not try to emulate their style as most were written in a protected bubble of development and were not specs, so they can get away with many things regarding format that you cannot with a spec from an unknown writer.  “If you don’t have time to read, you don’t have the time (or the tools) to write. Simple as that.” —Stephen King.

7)  HOMEWORK! If you don’t already, read screenwriting blogs, books, articles and film websites with news about the film industry. You must do your homework on a daily basis and not expect your representation (if you’re lucky to have an agent or manager) to do it for you. A lot of vital information slips through the cracks and information is priceless currency in Hollywood. It can mean the difference between getting in a door with a meeting that could land you the next job that launches your career.

8) PLAN TO MAKE SOMETHING! I don’t care if it’s on your cell phone. You learn so much if you film a scene that you’ve written. If you have larger ambitions to produce your own feature — by all means go for it! Don’t wait around for Hollywood to call because they will not unless you give them a solid reason to care about what you are doing. Produce a project. There has never been a time before in our history when it’s been easier as a filmmaker to produce a project. It’s also empowering to make something of your own. Regardless if it’s seen by the masses or twenty people who appreciate it. You will have gained the precious experience of making a project on your own. This will also show potential agents, managers, executives and producers that you are not waiting around to be discovered. You have made a solid body of work that reflects your unique voice. Go for it!

A game plan helps you allocate your precious time wisely. It shows that you’re your serious about your career and treating your screenwriting as a professional—not just willy-nilly writing a script and hoping it will sell on its own merits. It’s rare that one script makes a career. It’s always one script that opens the door, but you’ll probably have to write five or six to get to that “ONE.” The overnight success is usually a series of little successes along the way that lead up to continued success.  You have to consider how everything you do regarding your career fits into your bigger overall goals.

Your career aspirations can’t live or die by one project and you can’t focus on “the one” and hope it unlocks the gates of Hollywood. It’s always going to be a numbers game with horrible odds of success. Even if you sell a screenplay, there are no guarantees and still so many hurdles to jump. The good news is—the more quality material you create, the better chance you have of garnering interest and that may lead to a sale or assignment work. It’s always about the right project to the right producer at the right time. That’s why you stay in the game by continuing to write and get better. Keep your eye on the big picture.  It’s like what Bruce Lee said in Enter the Dragon, “It’s like a finger pointing a way to the moon. Do not concentrate on the finger or you will miss all of the heavenly glory!”

All my best wishes for a glorious and successful new year that is a blank slate for you to fill as you wish.

Scriptcat out!

Copyright © 2021 by Mark Sanderson. All Rights Reserved. My Blank Page blog.

Also check out my YOUTUBE Channel with weekly videos offering script tips.

Did you just complete your latest screenplay and need in-depth consultation? Check out my services by clicking on photo below for the link to my website and more information.

Check out my third interview on actor/producer John Lehr’s podcast where we talk about the journey of screenwriting in Hollywood. Click on photo below for the YouTube link.

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“It is no small feat to get a movie made, on any subject, on any screen.” — JJ Abrams

“Never confuse a single defeat with a final defeat.”—F. Scott Fitzgerald

“The writer’s only responsibility is to his art. He will be completely ruthless if he is a good one. He has a dream. It anguishes him so much he must get rid of it. He has no peace until then.”—William Falukner

“Always dream and shoot higher than you know you can do. Don’t bother just to be better than your contemporaries or predecessors. Try to be better than yourself.”—William Falukner

Life is a series of natural and spontaneous changes. Don’t resist them; that only creates sorrow. Let reality be reality. Let things flow naturally forward in whatever way they like.” —Lao Tzu

“Your screenwriting career is not a Dali-esque delusion, but the result of work, talent, focus, sacrifice, patience and luck. And we know that luck is a prepared screenwriter who meets an opportunity.”—Scriptcat