An apt metaphor if ever there was one (unless you’re a manager, agent or producer, in which case we can talk about it)
A self-imposed deadline is fast approaching.
At the end of this week, all operations on my western will stop. The time between now and then involves one last edit/read-through to really tighten it up, but when I close the file in a couple of days, that’s it.
Mostly because I’ve been working on it for so long, and toiled through several major rewrites, that I’m simply feeling burned out on it. Plus at this point, it really feels like doing any more extensive work on it would probably have the opposite, negative effect and do more harm than good. And I like this script too much to have that happen.
As it reads now, it’s a pretty solid example of my writing style. Even if it only ends up being a calling card that results in some assignment work, that’s perfectly fine with me.
Is it perfect? Of course not. Is it above average? So I’ve been told; excessively so, according to more than a few people not related to me. Is it a rousing tale of thrills and adventure that puts a new spin on an old genre? You’re darn tootin’.
I couldn’t have gotten to this point without all the helpful comments and support of some very talented writers and consultants. All of it has helped me make the script as good as I think it can be. For now. I also like the idea of coming back to it in a few months to get it ready for next year’s Nicholl or PAGE.
But the time has come to bring down the curtain once and for all. It has been an amazing experience that I honestly believe has made me a better writer and definitely upped the quality of what I write. As one of my reliable note-givers said to me, “As good as your writing is on this one, your next one is going to be even better.”
Step right up, friends! Have I got a deal for you!
I knew going into this round of sending out query letters that my chances of success were slim at best (which could also be said about trying to establish a career in screenwriting in general).
No big results to report so far, but there’s been a very interesting development. One that all writers should pay attention to.
I’d sent the query out, and a few hours later received this email (details deleted so as to ensure privacy)
“Dear Paul,
My friend and business associate XX (the manager) forwarded to me your query (SCRIPT TITLE) in case you might be interested in my consulting service (website). XX and I worked together (I as a studio executive at XX, XX as the producer) on the film XX, starring XX. My service offers you my experience having worked with countless writers during my 35 years as a studio executive. Here’s what I do: I analyze what you have written – in this case your screenplay – from a creative standpoint to start with, and if I feel its quality and potential are apparent and strong, I will try to attract for you an agent or manager. I will also develop a strategy to sell your work and will offer it to producers, a director or cast in order to position the material for acquisition by a financing entity such as a studio. My fee for this is modest by industry standards, and it will depend on how much time I judge it will take to do my job.
Please let me know if this triggers any interest on your part.
Sincerely,
XX”
Trigger interest it does, but probably not how you intended.
There’s a lot in here that just feels…awkward, and maybe a little predatory?
-“I analyze what you have written from a creative standpoint“. Checking out this person’s IMDB page, not counting some current in-development TV work, their last credit was in 1998, and the rest were in the early 80s. Checking the website, their bio touts some high-profile work, including being a member of the Academy’s judging committee and “a high level evaluator of screenplays” for one of the top-tier contests. Giving them the benefit of the doubt on this one.
-“and if I feel its quality and potential are apparent and strong“. With opinions about scripts being so extremely subjective, this person could like something that nobody else does, and vice versa. And if the script still needs work, the website claims they’ll “assist in giving you creative direction.” I can kind of accept that.
-“I will try to attract for you an agent or manager.” Which is how this whole thing started. Is there any chance it might be the manager I originally sent to? Also note they will “try”, so it’s not guaranteed.
-“I will also develop a strategy to sell your work and will offer it to producers, a director or cast in order to position the material for acquisition by a financing entity such as a studio.” So…you’d put a package together? I’m still learning the business aspects, but this sounds like what an agent would do, which makes me wonder if you get a percentage. This comes across as very pie-in-the-sky, make-your-dreams-come-true.
I also noticed that all the testimonials on the website are all raves about this person’s help with each person’s script, but not one mention of anything beyond that. Nothing about somebody getting representation, selling a script, getting their script to the studio level, or being produced as a result of working with them. It would be nice to see something that goes beyond the script consulting phase.
-“My fee for this is modest by industry standards, and it will depend on how much time I judge it will take to do my job.” Since I’m not familiar with this aspect of the industry, what exactly does ‘modest’ mean? A few hundred? A thousand? No matter how much, it doesn’t sound cheap. Prices are only available via email. And what about this whole “depends on how much time I judge” part? What if it takes longer than expected? Doesn’t it always? Do I have to keep paying if nothing’s happening? And what if the whole thing falls through in the end?
For all I know, this person is totally legitimate and could be exactly what some writer out there needs. But to me, it just feels weird. You shouldn’t be paying for career help anyway. If your material’s good enough, they’ll find you and be willing to help.
Whoo! What a week this has been. Lots of goings-on on several fronts. Big picture stuff first.
-The semifinalists were announced earlier this week for this year’s Nicholl. 149 in total, out of somewhere in the neighborhood of 7,500 initial entries. Turns out I know at least 7 of those writers on a somewhat personal level, whether it be through social media or from actual physical contact.
I am equal parts thrilled for and jealous of all of them, but also made sure to send each a note of congratulations. They definitely earned it. And several of them have made it to this point before, and probably will do so again in the future, so that means the rest of us have to really step up our game.
Watching this as a non-participant definitely puts things in perspective. I didn’t enter any contests this year, so I can’t even begin to speculate how my script might have fared. It’s been a major effort to work on improving it to the point that I like to think it’s good, possibly even really good (he said, trying not to sound totally biased), but how would it do in a contest, especially one of this magnitude? There are no delusions of grandeur, but who doesn’t daydream about grabbing the top prize? Jittery nerves and lofty ambitions all at the same time. Only way to find out is enter it next year and hope for the best.
-Operation ManagerQuest continues. Fingers firmly crossed that all the research, fact-checking and list-assembling will result in something positive. Thanks to everybody who’s offered their good wishes and support.
Although this time is all about the western, I put together and sent out a handful of queries for the fantasy-adventure. Since those were sent to places that might be more interested in that kind of thing, each letter was customized for its designated recipient. Queries about the western will go out next week.
-As things continue to wrap up for the western, focus is shifting to what’s quickly evolving into a total rewrite of the outline of the mystery-comedy. Not gonna lie. This is the one that grabs people’s interest and attention, so we’ll see what I can do with it.
While the overall plot and concept remain the same, several new ideas, angles and approaches are being developed that I sincerely hope will make it better.
Not a bad week. Hope it was equally, if not more productive for you.
The latest round of work on the western is done. Taking a little break while waiting for some feedback from friends and trusted colleagues, then off it goes to one more professional consultant. Hopefully not too much more to do with it after that.
(Also gearing up to enter it in a couple of contests next year.)
So what now? Easy.
Start researching potential managers to query about it, and get started on the next script – one in particular that may not need as much work as originally expected.
These are thrilling times we live in, chums, with bigger and better things yet to come.
And which of your many projects are you focusing on right now?
Beneath these pleasant exteriors exist cunning, ferocious competitors
The past few weeks have been exciting to watch as the latest results were announced for some of the major screenwriting contests.
First, congrats to everybody who advanced! It’s always thrilling to see good things happen for friends and trusted colleagues. Make sure you let them know you’re glad for them.
And if your contest email included the word “Unfortunately,…” it’s not the end of the world. Believe me. There’s a long list of reasons why your script didn’t make the cut. It happens. We’ve all been there. Getting upset about it won’t do you any good. The sooner you put it behind you, the better off you’ll be.
Once you’ve gone through the last of the 5 stages, you’ve got several months to really embrace the opportunity to put more work into your script (or scripts) so you can resubmit it/them again next year.
You want your scripts to do better? Do the work to make them better. Get feedback. Pay for professional notes if you can. Whatever it takes. You’re going up against literally thousands of other writers and their scripts. This isn’t the time to hold back.
Entering contests was something I did not do this year, primarily because I didn’t think my scripts were ready. The western needs at least 1-2 more drafts, and I’m going back and forth as to which one to do after that. I’ve never entered two at the same time, but based on how the writing goes over the next few months, might consider it.
So consider me among those thousands competing against you next year, and remember that each and every one of us wants to win just as much as you do.
Maximum Z 