The fastest route out of Sore Loserville

Get out and get out fast
Get out and get out fast

There’s been a disturbing trend on some online forums regarding the results of some recent high-profile screenwriting competitions. While the writers who advance receive and exchange congratulatory messages, some of the ones who don’t seem to be looking for some kind of explanation as to why their script didn’t do better.

“They don’t like this genre.” “They’re only looking for stuff they can market.” “They just didn’t get it.”

Hate to break it to you, but that’s not it.

This is: you and a few thousand other people entered the same competition, so the odds were already against you. Chances are pretty good that some of those scripts are better than yours. It happens. Accept it.

And this may come as a shock, but maybe your script just isn’t as good, let alone as perfect, as you think.

So rather than gripe, complain and avow “Those rotten bastards are never getting my money again!”, use this as motivation to make your script better. Rewrite it. Get feedback from your inner circle of trusted colleagues. Pay for one or two sets of professional notes. Some contests offer feedback for an additional fee, so maybe that’s something you might want to consider.

I was disappointed my western didn’t do better in some of these competitions. Frustration and depression were the dominant moods for a couple of days. That’s when reality smacked me in the face and said “You want to do better? Then get to work.”

So that’s what I’m doing. I’ve completed the initial edit, so the script is now 6 pages shorter. There’s still some work to do, but it already feels better and tighter than it was before. I’ll be following my own advice (more rewrites, feedback from friends and pros, etc.), all while planning ahead for next year.

What about you?

The me business – a 24/7 operation

 

The friendliest staff in town!
We’ve got the friendliest staff in town!

What may have been my biggest mistake with my old manager was not doing enough.

I’d toil away on the new script, and send him an occasional email asking if there had been any responses to the first one. They were minimal, which is putting the best positive spin on it.

Why weren’t we getting the results we’d expected? Mostly, I blame myself.

Looking back, I realize now that it was me who wasn’t being the more proactive one. He was a busy guy with other clients to handle. Instead of handing off the material with the instruction of “I’ve got a script to write. You do what you have to,” I should have been making his job easier by doing the research, finding the names and providing the contact info so all he had to was send off an email.

Lesson learned. Behavior modified. Jump to the present.

Now being representation-free, I’ve no choice but to be the proactive one. Nobody’s coming to me, so I’m exploring numerous avenues to get to them.

-query letters. A few managers have requested the script, with more being targeted.

-researching producers and production companies who’ve made films similar to my scripts

-expanding my network and connecting with writers on community sites, which includes face-to-face meetings with those in the immediate vicinity when applicable

-publicizing my scripts and their loglines on said sites and public forums, which has resulted in not only more connections, but offers to read the scripts. Feedback is always invaluable, and somebody’s status in the industry can change overnight, so any connection is a potential good one.

My former m.o. was to devote as much time as possible to writing, rewriting and polishing. But for now, that’s just not an option anymore.

Time for a little diversification.

It’s just as important now to set aside some time each day to find some potential recipients for my material. Even if it’s only 20-30 minutes of researching names on IMDBPro, that’s still a few small steps in the right direction.

Even if something may feel like the longest of shots, I remind myself I’ve got absolutely nothing to lose, and the worst that can happen is somebody says no.  If that happens, I shrug it off, move on to the next name and try again.

Flying solo

Wild blue yonder, here I come
Wild blue yonder, here I come

I’ve been hesitant to say anything, but there’s just no getting around it anymore.

My manager and I have parted ways.

Long story short – things weren’t happening.  Apart from being disappointed it didn’t work out, I bear him no ill will, and wish him and his savvy assistant all the best.

So once again, it’s all me.  Gone is the initial fear/terror of no longer having representation. Actually, the nervousness has segued into one of…let’s call it liberation.

I can’t say I’m all the way back to square one, because this isn’t totally starting from scratch.  This go-round includes a much better understanding of what I have to do and how to do it, such as:

-being able to offer up one script that’s had some moderate success in some high-profile contests, and one that’s “a refreshingly exciting new take on an old genre.” Throw in the two others currently being developed, and I’ve got quite an arsenal of high-concept material at my disposal.

-knowing the right way to do a query letter. Lessons have been learned from mistakes made the last time, and the first wave has been dispatched. There’s even been a couple of “We’d like to read this” responses.  I send the script and don’t look back.

-having a lot more confidence in my writing. All the writing, rewriting and utilizing of notes and feedback has had a significant positive impact. I may not be the absolute best ever, but I definitely know how to spin a ripping yarn you want to keep reading.

Thus the quest resumes. Wish me luck.

Go ahead. Try to stop reading.

pageturner
Absolutely nothing is going to divert my attention from this.

As a screenwriter working on making it as a professional, that’s been the underlying message for every one of my scripts.

I strive to create stories so involving, compelling and entertaining that each one immediately sucks you in and grabs your attention to the point where you have no desire whatsoever to stop reading.

You need to find out what happens next.

This is what I want when I read somebody else’s script, and it’s definitely what I aim for when I write mine.

Throughout the entire process of putting a story together, from the first spark of an idea to finishing the so-many-I’ve-lost-count rewrite, it’s a goal we’re consistently seeking to reach.

Being as objective as possible, take a look at your latest draft. How does it make you feel? Do the pages zoom by, move at a snail’s pace or just kind of plod along?

Does reading it excite you? Make you want to keep going? Can you easily visualize what’s happening?

Do the characters seem so developed that you actually care about what happens to them?

Always be challenging yourself as a writer. “Is this the best it can be?” “How can this be better?” “Would I pay to see this?”

You want your script to be irresistible, so do what it takes and put in the effort to make it that way.

Anybody can tell a story, but only the truly dedicated are willing to devote the time to learn how to tell it in the most effective way possible.

Smashing through the wall you just hit

 

If it were only this easy all the time
If it were only this easy all the time

Some days it’s hard to write. Really hard.

This isn’t about finding the time. This is about when the words and ideas just won’t show up.

No matter how many times you try something, it just doesn’t work.

The more you stress over it, the harder it gets. The frustration can be downright crippling.

We already put an exorbitant amount of pressure on ourselves in our attempts to produce quality work, and being angry for not doing so is just counter-productive.

How can people think this is easy? Like us, they soon discover it’s anything but.

Is it at least a little reassuring to know that this is just as common among the pros? Just because you’re a working writer doesn’t make this any easier.  In fact, it may make it even harder – their paycheck is on the line.

Believe me, I wish I could offer up some kind of all-knowing sage advice that goes beyond “Step away, take a deep breath and gather your thoughts,” but sometimes that’s all you can do.

Maybe it’ll work, maybe not. At least give it a try.

The more scripts you work on, the more the odds will be in your favor that you’ll be able to find your way back into that groove and have a few more good writing days.

This is just part of what it takes to be a screenwriter, so you have to know what works for you when this happens.

Which it will.  A lot.

Are you ready?