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.
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.
First, the good news: I wrapped up the rewrite/overhaul of the comedy spec (which seems more like a dramedy now.) Despite my dread and anxiety over whether or not it’s actually funny, it’s been sent out for notes. As I mentioned to one of my readers, as long as nobody says “What made you think you could write something funny?”, I’m good.
So, industrious scribe that I am, I find the best way to occupy my time while I wait to hear about a project is to redirect my focus and work on another one.
It was originally going to be a new take on the pulp sci-fi, but some story issues still need work, so that remains on hold.
But a few weeks ago, I was cleaning up around my office and found a hard copy of one of my earliest scripts: a horror-western. I don’t think I’d seen it or read it in about 15 years.
Wow, was it bad. Like “This first draft is going to sell for a million in no time!” bad.
But the idea behind it still worked, and was something I could definitely tweak and finesse into something a lot more coherent. I did mention how that old script was really bad, right?
So I started putting together ideas for the new draft. Let’s call this SCRIPT #1, or S1 to keep things simple.
Then another twist presented itself: a script with a low budget (the lower the better), a minimal number of characters and locations, and practically no visual effects has a much better shot of being produced than some mega-budget tentpole effects extravaganza.
With that in mind, there were aspects to this story I could use to create an entirely new and different one that met a lot of those criteria, so I jotted down some potential plot points in the same file. This is SCRIPT #2 (S2).
One file, two scripts. With me so far? It gets better.
After finishing the comedy, I decided I’d take on S1. I only had a vague recollection of all the story details, which I saw as a good thing. Although I’d still have the old draft available as a potential (albeit limited) resource, I don’t think I’ll use it all that much. This in turn, frees me up to go in whatever new direction I feel like.
As I thought up ideas for S1, some of the story elements from S2 started creeping in. Since I didn’t want the two to be too similar, more focus was put on developing S1. It’s still a work in progress, but coming along quite nicely. And so much better than that old draft.
Ah, but what of S2? Like I mentioned, there were story elements I really liked, and putting some of them into S1 forced me to come up with new ideas for it. There was one in particular that really stood out for me, and the more I thought about it, the more it felt like it would be able to be the basis for a solid story.
I combined that idea with the aforementioned low-budget approach and came up with what I really think is a great high-concept idea. Such to the point that I whipped up a logline for it, along with a title that feels very “that’s perfect!”
My belief and enthusiasm for both S1 and S2 is to the point that I’m now alternating between both; working on one, then the other. My objective now is to have at least a first draft done for both by the end of the calendar year. It’s already proven to be, and will no doubt continue to be, a most interesting process.
During a break from working on the comedy spec rewrite, I was digging through some files on some of my other scripts and found a friend’s notes on the pulp sci-fi spec.
I hadn’t read them in months, and vaguely remembered there were some quality comments, so since this is one of the scripts I’m considering working on next, I gave them a quick skimming.
(This is also a good time to remind you that unless you honestly and truly feel that a script is finished, never throw away any of the documents associated with it. You’d be surprised how invaluable those can end up being.)
Yep, definitely some good stuff in here, along with some very valid points about the story and the characters. One of the comments that really struck home for me was that while they liked the story and the ideas behind it, a lot of it still felt too familiar. There were a few moments of uniqueness, but they wanted more. Something slightly different from what they’d read.
“Familiar, but different.” I’ve heard that before.
And it really got me thinking. Even more so this time around.
As it reads now, it’s a good, fun story, but I know it can be better. And different. All while still maintaining the qualities and elements you’d expect for this kind of story, which is what made the idea of developing it so appealing to me in the first place.
Working in my favor is that this was an early draft, so some significant changes were already inevitable, and I at least have a pretty solid foundation from which to start the rebuilding process.
Another bonus is that this is the kind of story where the more new and original ideas I can come up with will only help make the end result stand out that much more.
As I mentioned, this script is a potential “next up”, but not a priority. If an idea or concept for it suddenly pops up, I can easily open up the script’s notes file and jot it down. That way I’ll have it right there and ready to go when that rewrite gets underway.
But for now, back to the comedy.
-A few items for the bulletin board:
-Filmmaker friend of the blog Hudson Phillips is running a crowdfunding project for his post-apocalyptic tale of female empowerment This World Alone. As of this writing, they’re just over 2/3 of the way there, so donate if you can!
-If you’re a screenwriter looking for something a little different in terms of a writing retreat, take a gander at what the Aegean Film Lab has to offer: an international screenwriting workshop in July on the Greek island of Patmos. It’s part of the Aegean Film Festival and a partner of the Sundance Film Festival. I won’t be able to make it, but maybe you will.