Seeing as how we’re in the season of giving, I thought this post from July 2019 regarding helping out other writers in multiple capacities was rather appropriate.
Enjoy.
For the most part, working towards making it as a screenwriter is a solitary effort. You’re the one who has to write the script and get it out there. It’s a tough journey, but you don’t have to go it alone.
Hence – networking.
Making that initial contact is great, but you should also strive to make it worth the other person’s while as much as you are for yourself.
Once you start to build up your own personal community of Other Writers, and those relationships gradually develop beyond the “Hi. Nice to meet you” stage, you’ll naturally seek out some help in the form of feedback – your latest draft, a query, a logline, what have you.
And that’s all well and good, but it’s equally important, if not more so, for you to return the favor. Rather than just popping up and saying “Hey, would you read my script?”, try “Hey, we’ve known each other a while, and you seem to know what you’re talking about, so would you be open to reading my script? And I’d be more than happy to reading one of yours.”
Helpful tip #1 – don’t be the person who asks for notes but isn’t willing to give them.
Helpful tip #2 – even if you don’t like what their notes say, you still need to hold up your end of the bargain and give them notes – especially if you’re the one who asked in the first place.
Sometimes the best kind of help is when it’s unexpected – either from you or from somebody you know.
A few years ago, a producer friend of a friend was looking for a certain kind of project. I didn’t have anything that met their criteria, but offered to post the listing on a few social media platforms. At least 20 writers responded. I sent their info to the producer, who then contacted a few of them (as far as I know).
What did I get out of it? Just being happy to help and the appreciation from all the writers – even the ones the producer didn’t follow up with.
I’ve also been fortunate to be on the receiving end, with friends sending me emails and messages about listings seeking scripts like mine.
A little effort really does go a long way – anything from forwarding a script or job listing to a few words of encouragement, or even offering congratulations for somebody achieving some kind of accomplishment. Don’t you like when somebody does that sort of thing for you?
As much as we’re all working towards our own individual success, we’re also part of a community; one where each member should help support the others in whatever way they can.
Encouragement from K and more than a few members of the screenwriting community reminded me of several very important things:
First – CONTESTS ARE ENTIRELY SUBJECTIVE. Sometimes your script clicks with readers, sometimes it doesn’t.
Second – CONTEST SUCCESS IS NOT A GUARANTEE FOR INDUSTRY SUCCESS. You can claim the top prize, but that doesn’t mean you should quit your day job. The road to an ongoing career is long, twisty, and loaded with uncertainty.
Third – THEY ACTUALLY MAKE FILMS FROM SCRIPTS THAT HAVEN’T DONE WELL IN CONTESTS. If a producer likes your script and wants to get it made, they’re not going to be as worried about how it placed in a contest.
Fourth (and this one really hit home for me) – SCREENWRITERS SHOULD NOT LIVE BY CONTESTS ALONE. Doing well in a contest is a potential boost to help you establish a career, but that’s it – potential. It’s only one of numerous paths.
As was pointed out to me, I may not have done well in contests, but I should also consider:
-I’m currently writing the script for a microbudget feature. The producer really likes how it’s all coming along, and has been completely ego-free since we began.
-I self-published 3 books about screenwriting this year (a great gift for screenwriters, yourself, or both. I got a kid in college, so anything helps).
-I continue to be the co-host of a podcast that’s all about writing. Fortunately, both my co-host and I know A LOT of writers, so there’s always somebody interesting to interview.
-I got to be on the other end of the microphone by being interviewed on a few screenwriting podcasts.
-I took part in a few panels about screenwriting at a writing conference, which led to being invited to give a lecture about screenwriting next month. (more on that another time)
-I still get the occasional email asking me to give script notes. It might take me a little longer to get to it than expected, but I enjoy doing it, and the writers seem to really appreciate what I have to say.
-there’s been progress, albeit the really slow kind, in making my short film. I was hoping to film it before the year was over, but looks like early next year might be more realistic. It’ll happen yet.
So my losing streak in contests may continue, I’ve got a decent number of other irons in the proverbial fire. And a few other fires, for that matter.
Hope you have an excellent pre-Halloween weekend. I will happily lay claim to any leftover plain M&Ms and Reese’s Peanut Butter Cups that manage to stay out of the grubby little hands of trick-or-treaters.
For those unaware, I had the good fortune last year to connect with a producer-director seeking a writer for their microbudget feature project.
After hearing their ideas and what they were looking for, I started developing the story, keeping them updated as things progressed at a decent clip.
One of the comments occasionally made during all this back-and-forth was, and I’m paraphrasing here – “Is there a way to cut the costs on that?” Since this is a micro-budget project, it’s imperative we get as much out of every dollar as possible.
Thus the changes and alterations began. A scene originally intended for a hospital room now takes place in somebody’s bedroom. A scene in a restaurant now has the two characters drinking to-go coffee and talking on a park bench.
You get the idea.
As the writer, it can be a bit of a challenge to revise a scene or sequence to accommodate the budget, but it also forces you to dig deeper into that creativity and come up with a solution that works just as effectively, if not more so.
If this were a regular spec, working within a budget wouldn’t be an issue. I’d just write whatever worked for the story. But if that script got picked up and the producer needed changes made, then they would be made.
Looking over some of the revisions, I also realized that some scenes could pack even more of a punch by utilizing sound and lighting (or lack thereof) for emphasis, rather than on just what we see. Leaving things to the imagination – what you hear and don’t see – has the potential to be much more effective.
(For a strong example of this, check out the 1942 classic horror-thriller CAT PEOPLE.)
Taking this “less is more” approach also helped with resolving a story problem in a significant way. A sequence that would already have been challenging to make is now drastically different but would be very simple to pull off, and we’re both very enthusiastic about how the end result would look.
While some aspects of the story and how it’s presented may have changed, the tone remains the same. There’s still a ways to go with the script, but writing it with this kind of mindset helps me figure things out so the story is just as compelling while also getting the most bang for the buck.
After countless hours, drafts, contests, emails, queries, coffee chats, and just about everything else I could do to help things work out in my favor, yours truly can now officially be called a professional working writer.
I kid you not.
A trusted colleague referred me to a producer seeking a writer for their microbudget project.
We talked, hit it off, and signed a contract.
(Once again showing the value of networking.)
Work on developing the first draft starts immediately, so the fantasy-comedy rewrite is on hold for the time being, which is fine by me.
And this producer already has a few films already under their belt, so the odds are better than average that this project will end up being a completed film. (As a friend said – always great when you can add a produced title to your resume.)
It’s all a bit overwhelming, but also quite thrilling.
This is what I’ve been working towards all this time. It may not be a huge industry-shattering deal, but it’s still me being hired to write a script for a movie.
Which is what this whole journey has been all about.
Fingers fully crossed that this is the first of what will hopefully be many more finish lines in this ongoing and never-ending race of mine.
I hope you have an excellent and productive weekend. Mine will most likely involve a celebratory piece of pie. Feel free to enjoy one wherever you are with my compliments.
Brooks Elms is a screenwriter and independent filmmaker. His specialty is grounded personal characters and writing stomach-churning story tension.
He’s written 30+ screenplays, a dozen of them on assignment, and sold several scripts, including one this year with Brad Peyton as Executive Producer. Brooks was recently hired to rewrite a screenplay started by an Oscar-winning writer. Brooks began his career writing, directing, and producing two indie features (personal dramas) that he screened all over the world.
Here’s an interview with Brooks from last year. He also loves coaching fellow writers who have a burning ambition to deeply serve their audiences, and has two new programs available to give them a helping hand.
You started your new mentorship program ANSWER THE CALL in late 2020 and the online course UNLEASH YOUR SUPERPOWER in early 2021. There are a lot of similar screenwriting courses and programs out there. What is it about yours that sets it apart from the rest?
Depth. I go ALL IN on the success of my writers. Most consultants give you their best for an hour or two, or maybe for the month you take their online course. And they play the numbers game. But since I only work with a few writers at a time, I’m better positioned to move the needle for you in a BIG way. I fully invest in writers: giving my time, my contacts, my everything – for life. I love helping them succeed as much as I love serving my audience with my own screenplays.
Is this a course more applicable for screenwriters just starting out, those with a few scripts under their belts, or both?
I enjoy new writers, but the best way I can help them is through my free tips found here https://www.brookselms.com/new/. I’m on the planet to serve my own audiences, and to help talented intermediate-level writers turn pro ASAP, and to keep them working at their highest levels – for life. And by intermediate, I mean they’ve written a couple scripts OR they’re a working professional in an adjacent creative field: copywriting, journalism, novels, acting, producing, directing, etc…
Do you consult with writers regarding which program would be the best for them?
The website helps writers with that. But the summary is that if you want a working WGA screenwriter to uplevel every facet of your game, consider the in-depth 1:1 story development program – ANSWER THE CALL. If you want help getting your script to people in Hollywood to launch your career forward, consider the outreach course & community – UNLEASH YOUR SUPERPOWER.
What was the inspiration for calling the programs ANSWER THE CALL and UNLEASH YOUR SUPERPOWER?
ANSWER THE CALL is from Joseph Campbell’s work about the mythic CALL that begins every great story. Too often, writers Refuse The Call to get the support they need to move to their next level – and they remain stuck in Act 1 in agony and cynicism. My program is for writers ready for the emotional risk to ANSWER THE CALL. UNLEASH YOUR SUPERPOWER is just a fun way to think about branding and outreach, because that side of the game, more than any other, needs a playful approach to be GREAT at it.
One of the aspects of your ANSWER THE CALL program is that you work with several writers as a group, as opposed to just keeping it one-on-one. Do you find that more beneficial, and why?
The group coaching calls add dimension to learning the system. Sometimes, I’ll show you a craft adjustment 1:1, and you kinda get it, but then in the group call you see me coaching a different writer on that same principle and it will now totally click for you. And the writers I select are super-creative so our group calls are an amazing sounding board for getting quick collective reactions. Plus, having a circle of peers that are ambitious, team-oriented and active in the business – keeps you inspired. Because when one of us win, all of us win.
How extensive is your work with writers for ANSWER THE CALL? Do you help them develop a script from beginning to end, or should they come in with one already written?
We go the full distance. So you can repeat the process, for life. We’ll take a deep dive into your favorite films & shows and why you love them. Then discuss an idea for a new story, or it could be re-writing a previous story you couldn’t crack.
I take you through every step in my simple, proven professional process, to be sure you’re squeezing ALL the creative juice from your story idea. I help you answer all your audiences questions that you didn’t think to ask yourself. I am your first and best audience member that’s rooting you on every step of the way.
And even when you get several drafts into the screenplay, I’m still with you and tapping into all my personal contacts to get this project set up, get you representation, and get you all the other success you want.
I can’t guarantee WHEN this will happen for you, but I do guarantee you WILL cross significant career milestones with this system if you keep using it.
And I haven’t found a more comprehensive and effective system for success as a screenwriter anywhere — because of the in-depth 1:1 attention, and the inspired community I cultivate.
Part of the ANSWER THE CALL program is that you select 5 out of all applicants to participate. How do you determine who makes the cut, and what if somebody applies and doesn’t get selected?
I help everybody that applies. Some writers will be the best match for me, and I work with those 5 people myself. And because I’m getting so many serious writers applying, I’ve also brought in 2 guest mentors (with better credits than mine!) to support others I can’t work with myself. IF the writer and that other mentor hit it off, they’re still in my program with my community and group coaching calls, and they just get their 1:1 support from an even more fitting working writer than me.
For the writers that aren’t the best fit for my program, I still make an introduction to another amazing mentor colleague who works hourly, which allows them to still get custom support.
The qualities I look for in the writers that are a match for this program are:
– ambition while being open to earn how to fulfill that ambition
– team player
– talented – I don’t have to love their genre, but I have to love their creative approach and POV on life
– demonstrated commitment to the craft (written several screenplays, or created something else at the professional level and are ready to write screenplays)
– willing to go to the deepest places in themselves, so they can move their audiences in the deepest way
But most of all, I get a feeling when I do the first free coaching session that tells me “Hell yeah I want to help this person succeed myself AND they’re ready” or “I love that this person applied and I’m excited to help them a different way.”
It’s a soft landing for you either way, and just filling out the free (and fast) application will get you leaning forward in your career anyway. Easy!
While ANSWER THE CALL covers the actual writing of the script, UNLEASH YOUR SUPERPOWER is more about what a writer can do once the script is ready to go. Is this a topic that’s challenging to a lot of writers?
Oh yeah. Writers tend to create a lot of drama in the outreach process, and that’s the single biggest factor that’s slowing down your career. Whatever level of talent you have, the speed of your success hinges upon the quality of your outreach game. Lean into your outreach game, and you’ll move into the fast-track of your success.
Follow-up – how would you work with a writer who at the very start says “I’m a complete mess when it comes to pitching”?
I welcome that! We all are on the journey. Myself included. So we just practice, and then we become a little less of a mess, and practice some more — so we become “okay.” And we practice some more until we get good… and even great. And what’s most important is we enjoy that journey of developing our game, and to not take ourselves too seriously as we’re learning. It’s lots of fun.
A lot of writers say lack of access to the industry is one of the biggest obstacles to establishing a screenwriting career. What are your thoughts on that, and how do you help writers with it?
When writers say their problem is “lack of access,” I see the real problem is “lack of a good habit” to face their fears of socializing.
News flash: over half of Hollywood is online posting about all sorts of things. Go to them directly! Get into genuinely engaging conversations with YOUR people – for the sheer fun of it.
Some of those online conversations will escalate into deeper colleague connections and even attachments to your projects – IF and only if – you’ve got the goods. So… the only thing stopping writers from their own amazing outreach game is their habit of wallflowering. But since they chose that habit, they can choose a new one. With practice. Totally in their control and power.
Say a writer completed a script in ANSWER THE CALL that you felt was of above-average quality. What would your next steps be? Pass it along to an agent, manager, or producer? Recommend they enroll in UNLEASH YOUR SUPERPOWER?
Once I make sure their script is as great as it can be, I map out a sales strategy for them and introduce them to my own contacts. I got one of my mentees signed to my own manager. Everybody in the core development program ANSWER THE CALL is automatically enrolled in UNLEASH YOUR SUPERPOWER as part of me helping them succeed.
Are there any success stories regarding former students you can share?
There sure are. In the very first year of the program, writers have already been advancing in contests, got an 8 on the Black List, gotten a handful of paid writing assignments, got producer attachments, and a former client won a Nicholl Fellowship last year (top 5 out of 7200 scripts).
Did I mention it was the first year of the program?
Success begets success, and this snowballing has just begun.
How can somebody interested in either or both of these courses get in touch with you?
Maximum Z 