They said no. Big deal.

baker daleks
Things might seem a bit dire now, but there’s always a solution

When I send out a query letter, I do so with equal parts of hope and optimism, as well as healthy doses of realism and some kind of fatalism.

I totally realize that the odds are against me and that the response will most likely be some variation of “no”. But I send it anyway, because…you never know.

I used to put way too much pressure on myself about this sort of thing, but a steady stream of “thanks, but no thanks” has really built up my resilience. If it reaches the next step, great. If they pass, that’s the end of that and I move on to the next thing.

And there’s always a next thing.

I’ve been very fortunate to have built up a network of supportive creative folks. Many pass on words of encouragement, usually along the lines of “Love how you bounce back!” and “I really admire your work ethic!”

Honestly, I don’t really have a choice. The simple truth is that if I want to make it, I’ve got to keep trying. The failures and disappointments will always greatly outnumber the accomplishments and successess, and the only way to get to the latter is to keep pushing through the former.

There might be a moment of feeling bad about getting told “no” for the umpteenth time, but you have to get over it and move on.

Frustrating as it can sometimes be, I’d rather keep trying and failing than stop altogether. I may not be the most fantastic writer in the world, but I like to think I’ve got some decent talent, and I’ll keep at it. The optimist in me leans towards things eventually going my way – preferably sooner than later.

Be strong, keep trying and keep writing, chums.

A slight course correction

XEaj

For the most part, my involvement with this year’s big contests is more or less over. Top 15 percent for Nicholl – not too bad. Total whiff for PAGE again, which makes me 0 for 4. Not expecting much out of Austin.

Results from some of the smaller contests are about the same. Semifinalist in one, quarterfinalist in another, and a few not-at-alls.

A bit on the disappointing side, but all is not lost. On the contrary. It’s actually helped force me into making a pretty important decision.

After much self-evaluating, I’ve opted to drastically cut back on contests for next year and ongoing. Most likely, I’ll keep it limited to just the big three mentioned above. And even entering those isn’t a certainty. They’re the ones that hold the most potential for getting the ball rolling on a career – not guaranteed, of course – but the most potential.

No delusions of grandeur. I’ll continue to take my chances and see how things go. If I do well, great. If not, no big deal.

And just for the hell of it, maybe one or two smaller ones every once in a while. Might as well have a little fun.

Moving forward, the focus now shifts to improving my writing skills and making my material better. Reading a lot of professional scripts, especially those in the same genres as the ones I’m writing, shows me my level of expertise isn’t where I need it to be.

If I want to make this work, I need to get better. No other way to put it.

It’ll be tough, but I’ve come this far and the final objective continues to feel a little bit closer with each new draft.

I’m fortunate enough to know a lot of savvy writers, along with more than a few quality consultants, so getting constructive feedback and guidance can only work to my advantage.

As a colleague once told me, “It’s not about contests. It’s about Hollywood.” Sure, contests are fun and all (especially when you win, or at least place highly), but I’d rather focus on writing quality material and getting them in the hands of people who can actually make something happen with them. Representation. Assignments. Rewrites. A sale. I’m not picky.

My long-term goal has always been to become a working writer, and I think I can still do it. It may not happen as soon as I’d like, but hopefully by really buckling down and pushing myself to keep at it, I’ll have a better shot at turning that goal from a dream into a reality.

Wish me luck.

Q & A with Angela Bourassa and Tim Schildberger of Write/LA

Write LA Logo

hs-e1521810938693.jpgTim S

Screenwriters enter contests for a variety of reasons: industry connections, cash, software, notes on their script. And there are a lot of contests to choose from. How your script places can make a significant impact on helping you establish a screenwriting career.

And now there’s a new contest that wants to help you do just that.

Write/LA launches today (with early bird pricing in effect until April 30th), and is the brainchild of Angela Bourassa and Tim Schildberger. I had the opportunity to speak to them about it.

But first, a little background info…

Angela Bourassa is the founder and editor in chief of LA Screenwriter, a leading online resource for working and aspiring screenwriters around the world. Angela graduated from UCLA back in 2008 and has been writing feature screenplays — mostly comedy — ever since. In addition to writing, she spends much of her time wrangling her 18-month-old son, watching Survivor (#DropYourBuffs), and trying to keep track of which jail her public defender husband is visiting today.

Tim Schildberger is the founder of LiveRead/LA as well as a script consultant, writer with thirty years’ experience, an expat Australian, creator/writer of a Travel Channel comedy/reality series no one saw, and the man who led the team who found all the people for the feature film Borat. He’s a big fan of Aussie rules football (which isn’t anything like football or soccer or any other known sport) and baking treats with his twin girls for LiveRead/LA’s events.

Both of you have extensive experience providing information & resources to screenwriters. Tell us about your respective paths to get there.

Tim: I started writing for an Australian soap opera called Neighbours when I was 21. For the last twenty years I’ve been in the USA, and I’ve been a member of a writing group that holds weekly live reads. Not only has working with actors helped me enormously as a writer, but so has hearing all the feedback from my peers. That experience helped me overcome my hatred of re-writes (does anyone like re-writing?) and showed me the only path to becoming a better writer is writing more, sharing your stories, and being open to feedback. It also showed me I have an aptitude for identifying strengths and weaknesses in other people’s work, offering suggestions while maintaining the writer’s self respect.

In 2016, I decided that rather than continue assisting others with their scripts as a favor – which was becoming a little time consuming – I would put my own spin on the live read concept and build a new collaborative community, so I launched LiveRead/LA – and it’s already helped many writers. But I wanted to do more – to help more writers, to reach more people. I couldn’t make it happen alone, though, so it wasn’t until I met Angela and we discovered we had a similar sensibility about helping and giving back that Write/LA was born.

Angela: I started LA Screenwriter in 2011, and at first it was just a small blog where I would bring together produced scripts that I wanted to read and screenwriting articles that I found helpful as I worked toward my own dream of becoming a working screenwriter. But over the years, it’s really taken off, and now thousands of people a day come to the site for advice and resources, and that’s a responsibility I take very seriously.

I’ve thought about launching an annual competition before, but I honestly think that a lot of the screenwriting competitions out there – maybe even most of them – are ripoffs that don’t have the writer’s best interests at heart, and I didn’t want to be part of that cycle. I only wanted to start a competition if I had the ability to offer great prizes and great judging that could actually help writers in their careers, and that ability showed up in the form of Tim.

What prompted you to create Write/LA?

Tim: I was prompted to create Write/LA because I wanted to share what I’ve learned about writing, about the power of hearing your work read by actors, and about giving and receiving feedback. And the importance of interacting with working industry folk. Los Angeles is the global epicenter of writing for TV and film, so it seemed obvious to try to find a way to bring people to LA to learn, connect, and be celebrated for what they’ve achieved so far.

Angela: And I really wanted to be a part of Tim’s vision, because his idea for this competition and the prizes got me excited. Both of us are writers, so we know what it feels like to do well in a competition and then end up with no real benefit. We’re trying to change that by creating a competition that we both would want to enter.

What makes Write/LA different from other screenwriting competitions?

Tim: Write/LA is a competition aimed at the process of writing at a professional level. Most other competitions offer prizes in the hopes of discovering a script that can sell or a writer who can get representation. We’re focused on building command of the craft. Let’s be clear – our three grand prize winners will be writing while they’re in town. They’ll also be mingling with working writers and Industry people and gathering knowledge and experience that’s vital for lasting success. We aim to help our writers become professionals, not just one-hit wonders. It’s that combination of experience, education, and celebration that sets us apart.

What sort of criteria are you looking for in scripts that are entered?

Tim: We’re looking for evidence of command of the craft. That means we want original stories, compelling characters, an understanding of format and genre, and way above all else – an emotional connection with the material. There has been so much written about the structure of writing for TV and film: act breaks, inciting incidents, midpoint turns, and the rest. As a result, many writers are good at moving characters from point A to B to C.  But very, very few are good at letting us know what this particular story is doing to the emotional well being of the characters. An audience needs to feel something, or the script is flat.

As I like to say, no teenage girl saw Titanic ten times because it was a cool special effects movie about a boat sinking. They felt for Jack and Rose. We want to find scripts that make us feel, show us the writer knows how to tell a story, and will really benefit from the grand prize we’re offering.

Angela: That’s why we’re not judging film and television scripts separately. We’re accepting both, and we might end up with completely different genres and formats for the three grand prize winners, which I’m personally really excited about. We’re interested in emotional, engaging storytelling above all else.

Seeing as how this is Write/LA’s inaugural year, what are you hoping to establish with it in terms of opportunities for screenwriters?

Angela: We want to establish ourselves as a different kind of screenwriting competition. Our prizes stand out from the crowd, and we’re hoping a lot of writers out there understand the undeniable value of a private, intensive writing lab, an inside look at the industry, and the value of having their words read in front of an invite-only LA crowd.

Tim: Our winners will have a rare gift for any writer – a moment to be celebrated. Obviously, we hope their time with us will be a springboard to a writing career, or perhaps the final step toward breaking through, but what we’ll be focused on is helping them make connections and bring their writing up to a professional level so that – when they’re ready – they can begin long and successful writing careers.

We will also give everyone who makes the quarterfinals and above something of value. Being named a quarterfinalist feels good, but usually means little else. We want to change that.

Readers of this blog are more than familiar with my love/appreciation of pie. What’s your favorite kind?

Tim: Gosh. I love pie. But if you’re forcing me to choose, I think I lean toward the more pudding/custard pies. In Australia we have custard pies, which are my absolute favorite. But here in the US, I love a good banana cream pie. No disrespect to the fruit pies – as I said, I wouldn’t say no to any of them!

Angela: For me it has to be blackberry. Blackberry pies remind me of my childhood. But I’m a sucker for basically any sweets that don’t have nuts. (Apologies to the pecan pie fans out there.)

banana cream pieblackberry pie

Just the pep talk I/you/we need

pecan pie
Where else could you find comfort, reassurance, and tranquility, all on the same plate? 

(Author’s note – I wrote a lot of this earlier in the week, but circumstances of a confidence-instilling nature have occurred since then. I considered scrapping it and starting over, but thought the content was still relevant, so opted to stick with it. Enjoy.)

Let’s face it. Trying to make it as a screenwriter is an almost impossible task.

Emphasis on “almost”.

It can be done. Remember, every single writer whose name is up on there on the screen had to go through a lot of the same things you and I have. Probably even more.

The sad truth is that you will have to endure a lot of frustration before you start to even come close to achieving the results you want. And that frustration can easily lead to anger and depression and feeling like you’re wasting your time and this is never going to work out.

I say this because I’ve been that writer. Many times. This week was no exception. Several writer colleagues had some truly awesome things happen for them, and deservedly so.

Still, I can’t help but feel a slight pang of jealousy about it, but that’s all on me. In no way would I ever intend to divert the spotlight away from their success. They earned it, so they are more than entitled to enjoy it.

As for me, sure, I might wallow in self-pity for a little bit, but time and experience have helped me “get over it” faster, but the hurt does tend to linger.

Writing might be the last thing I want to do, but it’s actually been pretty therapeutic. Shifting your attention to another project – maybe one you haven’t worked on in months – helps with the emotional recovery process. Sometimes I’ll vent to another writer; usually someone who’s been through the exact same scenario.

Once I get all of that out of my system, the drive to succeed once again takes over, I get back on the horse and pick up where I left off – because the only way I’m going to make it is to keep trying, and that the only person who can make it happen is me.

That’s how it is for all of us. You’re not alone.

There will be so many situations where things don’t go your way. In the beginning, it feels like somebody’s stomping on your soul. But you eventually learn to accept that it happens, which helps toughen you up for the next time, of which there will also be many.

So on that note…

There will be a lot of times you just want to give up, or feel like the only word you ever hear is “no”, or have it seem like you’re the only writer on the face of the Earth not making progress.

Corny as it may sound, the best piece of advice I can offer is to keep at it. You will definitely hear “no” a thousand times before that one significant “yes”, but you won’t get it at all if you don’t keep going.

This is not a career path for the easily-defeated or the thin-skinned. I’ve had people tell me my story ideas were stupid and my writing was awful. One memorable character even thought my script was so terrible they were certain it was some kind of practical joke. Comments like that sting, but only temporarily. You learn to ignore them to the point they don’t even faze you anymore.

I’ve had the good fortune to make lots of connections with very talented people, many of whom have been more than willing to help me get closer to that goal.

I’m still here, still trying, determined as ever. And I sincerely hope you do the same.

A few other writings of relevance

pro-writer
Only sixteen more items to deal with and I can call it a day!

First, the good/positive news – the rewrite of the comedy spec is complete. However, at 88 pages, it’s a little shorter than I expected. Fortunately, adding in another 4-5 pages shouldn’t be too strenuous.

As part of the effort to recharge my creative batteries before jumping back in, I’ve stepped away from it for a couple of days.

From actually working on that script, anyway.

Since there are a lot of other avenues involved in getting your work out there, I’ve been focusing on some of those, including:

-got some great feedback on query letters, so revised one (along with updating a few lists of potential recipients – always works in progress) and sent a few out.

-submitting some pitches, and just about every one asks for a synopsis. Working on these tends to usually involve me putting in too much story info, then turning around and drastically editing it and shrinking it down to fit on one page. Despite how important this is, I’ve always disliked it.

-jotting down ideas for other scripts. While a nice reminder that I have these waiting in the wings, it’s also quite pleasant to take a look at stuff I haven’t seen in a while. Some are still in the development stage, and others are older scripts due for a massive overhaul.

-the maintenance and upkeep of connections with other writers and creatives. Like with the scripts, some are from the past, and some are brand new. Can’t go wrong with keeping your network healthy.

-reading scripts and watching movies. True, not necessarily writing, but definitely affiliated with it. It’s especially gratifying when the script comes from a writer who knows what they’re doing. As for the movies, that’s been a mix of the popular (Wakanda forever) and the Oscar nominees.

The point of all of this is that there’s much more to building a career in screenwriting than just writing scripts; it involves writing of all sorts for many other things. While I already dedicate a good portion of my available time to working on scripts, I also realize and accept that these other things are in just as much need of my attention.

And an added bonus – many of these things are not one time only. They’ll be done again and again, so the more I do them now, the easier they’ll be to do when the need arises.

Except for the one-pagers. I’ll always struggle with those.