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Screenwriters figure things out. So before you ask your question, do a little research first. Try reading a book or two. Check out the FAQ's forums on the Done Deal Pro message board. If you still can't find the answer to your question, then go ahead and ask me. But please note: I do not subscribe to the view that there are no dumb questions.
by David H. Steinberg
Ask Hollywhooped! Advice:
hollywhooped@donedealpro.com
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| Date: |
3/14/2010 |
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| Question: |
Hello Mr. Steinberg,
After reading though the archives of your (very excellent) column I noticed that you suggest directing your own film as a superior way to break in, as opposed to spec writing. This caught my attention as I am working every avenue I can: writing specs, directing a feature from my own script, directing a short and writing for a (hopefully picked up) animated show.
I was curious, would you elaborate your views on that position? Any advice you would offer in regards to that method?
Thank you,
Jake |
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| Answer: |
Jake,
If you can pull off directing a feature film, you are that much more desirable in Hollywood. Of course, this only make sense if you want to direct.
The bottom line is there are a lot of people writing spec scripts out here. Even if yours is great, it may never sell. Or even if it does, it may never get made. Writers are fairly powerless in this regard; the success of your projects is largely out of your control.
Directors, however, have more power and more say in the industry. Plus, if you actually complete a feature film, that’s says a lot about you. Sure, there are a lot of indie films being made, but far fewer than spec scripts written.
All I’m trying to say is that directors break in at a higher level than writers. It’s not any easier to do, it’s just a bigger deal if you do it.
--Dave |
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| Date: |
2/8/2010 |
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| Question: |
Dave,
I realize you don't much like screenwriting competitions, but you should come up with a better argument about the Nicholl Fellowships than "even Nicholl winners have spotty records ever working in the industry."
Since later in the column, you offer advice of moving to LA or attending film school or making a film, shouldn't you also note that folks who move to LA with the intention of working in the film industry have spotty records as far as entering and remaining in the film industry? Or that film school grads have spotty records as well? Or that more often than not, first time feature filmmakers do not make a second feature?
For beginning writers, competitions offer much that has nothing to do with winning and the aftermath. For instance, they offer deadlines; they can serve as yardsticks; some offer written feedback; they can serve as stepping stones; those that use industry professionals as judges offer the possibility of writers connecting with those industry judges; those connected with festivals and conferences such as Austin, Nantucket and the Screenwriting Expo offer opportunities to connect with professional writers, agents and managers, producers and executives; those that provide contact information or distribute log lines or scripts to industry professional offer the possibility of making connections within the industry; etc.
Beginning screenwriters should use as many avenues available to them as they can in attempting to become better writers and then in attempting to break in professionally. The Nicholl Fellowships is simply one among those many avenues. So are a number of other competitions.
Best,
Greg Beal,
Director, Nicholl Fellowships in Screenwriting |
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| Answer: |
Greg,
Thanks for your email.
Clearly the Nicholl is the most prestigious competition of its kind. Winning can certainly be a great way to break in and its track record is much better than probably every other competition’s combined. But every competition costs money to enter and that fee has to be weighed against the value of winning. My primary concern in knocking on screenwriting competitions is that a whole industry has sprung up in the last 10-20 years centered around separating the aspiring screenwriter from his or her money. There are literally hundreds of competitions now and the vast majority of them are simply irrelevant to breaking in.
You’re right, of course, that there’s no full-proof way of breaking in. Being an assistant at CAA isn’t your golden ticket. At the end of the day it will boil down to talent and some luck. But my concern is the false hope and passivity of all these competitions. Sending in an application and waiting is not the best approach to breaking in to the entertainment industry. The best approach is simply to be here in person working in some other capacity while at the same time you are networking, learning, and writing.
Now that’s not to say that you can’t also apply to some of the most prestigious competitions. But that should be addition to everything else, not instead of. And aspiring writers should be leery of sending $75 to some competition no one’s ever heard of.
--Dave
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| Date: |
1/15/2010 |
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| Question: |
Dear David,
If we look at the case of a beginner screenwriter who lives too far from LA to go into pow-wow and schmoozing, and try to drum up assignments, but wants to break in, as it were, is it true that the only reliable way to break in and get scripts sold is to place/win in top screenwriting contests?
I mean, if one carries the hog in a prominent contest, one will be sure to get noticed, right?
Otherwise, it's Catch 22...
Thanks,
Faig M |
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| Answer: |
Faig,
Where are you getting your advice? The email blast from Final Draft?
Virtually every screenwriting contest is a colossal waste of time and money. They are quite simply scams, designed to deprive you of your entry fee. Absolutely no one in the industry takes them seriously. Yes, if you win the Nicholl you may get repped and get your name in Variety. But even Nicholl winners have spotty records ever working in the industry. Most contests are ones that nobody’s ever heard of. The rest no one cares about. But aspiring writers love contests because (a) it’s passive with very little effort on the writer’s part, and (b) it keeps the writer’s hope alive as they wait by their inbox for their ticket to Hollywood. And that’s what is so insidious about these contests. The false hope.
Okay, so contests aren’t the way to go. So what do you do if you can’t quit your job, can’t move to L.A., or can’t afford film school? What’s the way out of this Catch 22? Well, the standard answer is, just write something great. If you write Amadeus, people will fall over themselves trying to rep and sell you. If you get that script into the hands of just one industry person, everything will happen, and it’ll happen quickly.
On the other hand, if you write something not so great, or great but not commercial, or too big or too small, or a million other things that can go wrong, then nothing will happen and there’s simply no solution.
Bottom line, if you want to develop a career as a screenwriter, move to L.A. It’s that simple. It’s not sufficient, but it’s usually necessary. Or go to film school. Or go shoot a film. But if you just can’t make the sacrifice, then maybe you should face reality and accept your current life and job. Keep writing, but do it as a hobby for your friends and family and yourself. Because the reward of a career in Hollywood doesn’t just require tremendous talent and luck, it requires that you take a chance.
--Dave |
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