| FADE TO BLACK. | | | | don’t know when to head back to the |
| For a screenwriter, there’s absolutely | | | | corner for a much-needed break (or even career |
| nothing that quite compares to the feeling you | | | | CPR). But it’s ill advised to continue |
| get when you type those last three words. | | | | shopping a script whose shelf life has (at least |
| It can be a short-lived euphoria. | | | | temporarily) expired. |
| Because once you’ve done enough fist | | | | Why you might be doing it: Shopping a spec script |
| pumping and strutting to make Rocky Balboa | | | | is often viewed as a numbers game: cast a wide |
| seem reserved and somewhat insecure, the next | | | | enough net, and someone’s bound to nibble. |
| thing that probably pops into your mind is, What | | | | We’ve all heard stories of award-winning |
| now? | | | | writers who, on the verge of throwing in the |
| A search on the Internet shows many pitching | | | | towel, decided to make one last sales call — |
| sites with tons of other aspiring writers out there, | | | | the call, in fact, that finally got things rolling. |
| all asking the same question. And for every ten | | | | It’s hard to know when to keep sparring, |
| new writers who come out swinging with a spec | | | | and when to step back. In this instance, a brief |
| script, there is one poor industry professional who | | | | time-out and a consultation with your coach (or |
| is, more likely than not, doing his best | | | | whoever you trust to tell it to you straight) will do |
| bob-and-weave to sidestep them. | | | | wonders for your self-esteem, and might provide |
| Maybe we’re overeager, or simply too | | | | fresh insight into why your script’s not |
| green. For some of us, we’re too dazzled | | | | selling. |
| by the idea of earning a six-figure-plus paycheck | | | | Righting the wrong: Get off the ropes, kid. If your |
| to honestly assess whether or not we have the | | | | script has made the rounds and it’s not |
| chops to be a screenwriter to begin with. So | | | | looking good, take a break, and evaluate where |
| when it comes to shopping a spec script, we | | | | things stand. If an industry pro turned down the |
| tumble into the same pitfalls that claimed the | | | | script but took the time to give you notes, pull |
| careers of other aspiring writers, making five | | | | those out and give them a read — and |
| common mistakes that often jeopardize our | | | | serious consideration. |
| chances of getting that big break. | | | | Over the years, Unk and his producing partners |
| But if you’ve got a well-crafted screenplay | | | | have occasionally provided writers with |
| and can identify and avoid these mistakes, you | | | | well-considered notes. “At times, we see a |
| have a fighting chance of getting your material | | | | possible ‘diamond in the |
| read and, ultimately, sold. | | | | rough,’” he observes. “And |
| Back to your corners, Writers. We’ve got | | | | when that happens, we attempt to communicate |
| some strategizing to do. | | | | this with the writer, [telling him or her] ‘if |
| Common Mistake #1: Hyping it up | | | | you’re willing to take some notes and |
| What it is: This mistake is all about the hype | | | | willing to give it another couple of shots, |
| — who’s got what, who’s | | | | we’re willing to read it again.’” |
| selling what, who’s making what. As an | | | | To his amazement, however, Unk reports that he |
| unknown screenwriter, chances are there’s | | | | has never had a writer take him up on his offer. |
| not a lot of hype going on around you… yet. | | | | Don’t be that writer. Roll your sleeves up. |
| In the absence of hype, writers can be tempted | | | | Take the notes. Go back to your corner, and |
| to over-embellish the facts when it comes to | | | | start again. In Unk’s case, his company left |
| presenting themselves, and this can be a big | | | | the door open for those few writers to walk |
| mistake. | | | | back through, when the time was right. If such an |
| When I first began shopping a spec script, I lived | | | | offer presents itself to you, take it! |
| three thousand miles east of Los Angeles, and | | | | Notes like the ones Unk volunteered show that an |
| desperately wanted to find a way to get my | | | | industry pro took time from his very busy day to |
| foot in the door. I don’t know why, but | | | | thoroughly evaluate your project’s potential |
| one day, I decided it’d be a good career | | | | and provide input based on his experience. Honor |
| move to call a producer I wanted to read me, | | | | this commitment to your efforts by giving the |
| and leave a voicemail that basically said, Sorry I | | | | notes the consideration they deserve. |
| missed your call, I’ll try you again later. | | | | Common Mistake #4: Letting your gym |
| Seeing as I had a three-hour advantage, I knew I | | | | membership expire |
| would get her voicemail (my passing acquaintance | | | | What it is: When a boxer steps into the ring, he |
| with math helped tremendously in this first, crucial | | | | or she needs to be in top condition. This means |
| step). Once I got her on the phone, I reasoned, | | | | putting time in at the gym, working, sweating, |
| I’d so dazzle her with my pitch that if she | | | | finessing, and then getting up the next day to do |
| suspected I had duped her, she’d let it slide. | | | | it all over again. |
| All good, right? Except she never called me in the | | | | The wise writer, no matter how accomplished, |
| first place. And, thankfully, she never called me | | | | knows that the training never stops. That’s |
| back. By the time the sun was up in Santa | | | | because, like a professional boxer, every new |
| Monica, I came to my senses and decided not to | | | | script must be nimble, cut, and ready to go a few |
| make that follow-up call. I simply couldn’t | | | | dozen rounds with the heavies. |
| go through with the deception. | | | | For whatever reason, unseasoned writers often |
| Why you might be doing it: When people tell a | | | | neglect this fundamental part of the screenwriting |
| white lie, or embellish the facts, it’s often | | | | process. Don’t be that writer. Jen Frankel, |
| done out of fear of rejection. And in this industry, | | | | a produced screenwriter, playwright, novelist, and |
| rejection deals the knock-out punch to aspiring | | | | the Director of Development for Wildcard |
| screenwriters on a daily basis. | | | | Pictures, observes that a writer’s technical |
| Some psychologists believe that lying aids in | | | | prowess on the page is the first thing she looks |
| protecting our self esteem. In a May 2006 report | | | | for when considering a script. “Nothing |
| entitled, “Why We Lie,” writer Robin | | | | prejudices me more quickly against a writer than |
| Lloyd observes that lying helps us “to look | | | | bad grammar, spelling, or punctuation,” she |
| good both to ourselves and others.” | | | | says. “Format must also be clean and clear |
| This self-preservation is understandable. If | | | | and adhere, more than anything else, to a desire |
| there’s a 99 percent chance you’re | | | | for readability and visual sense.” |
| going to get a “no” when you query | | | | Why you might be doing it: Beyond talent, good |
| an industry pro (or worse, no response at all), | | | | writing results from two training essentials: the |
| who could blame you for wanting to find a way | | | | technical training a writer will seek in a structured |
| to get to “yes,” by whatever means | | | | setting (i.e., the classroom, an online seminar, a CD |
| possible? | | | | or DVD program), and what he or she takes |
| Don’t be that writer. If you want a career | | | | away from recreational, reflective reading. |
| in this business, don’t lie about who you | | | | Training in a classroom setting can be expensive, |
| are, what you’ve done, where | | | | and reading demands time and attention — |
| you’ve gone to school, who you know, etc. | | | | two rare commodities in our fast-paced, |
| Present yourself as honest, hard-working, and | | | | technology-crammed lives. |
| trustworthy. In other words, be the kind of | | | | Without the proper training, however, a script will |
| person you’d want to do business with. | | | | fall flat. As Frankel states, “[These] are the |
| Righting the wrong: If you’ve written a | | | | first things I look for in a script: good writing, |
| great spec, it won’t matter that | | | | which means technically good before I even start |
| you’re new on the circuit. When querying | | | | to consider the merits of the ideas, and good |
| an industry pro, simply present yourself as a new | | | | form.” A script that veers too far from |
| writer with what you feel is a great story on | | | | acceptable in either area, she warns, “is |
| your hands, and ask if you can send over a copy | | | | going to have an uphill climb to impress |
| of your script. If you’ve got what that | | | | me.” |
| industry pro is looking for, your material will speak | | | | Righting the wrong: Learn your craft. Take a class. |
| for itself, and you’ll find the hype finds you. | | | | Read a book on the dos and don’ts of |
| Common Mistake #2: Leaving your hat in the ring | | | | screenwriting. Study other scripts. Commit to |
| What it is: This mistake stems from not following | | | | finishing one work of fiction and non-fiction once a |
| up with an industry pro after you’ve | | | | month. And don’t just read for enjoyment. |
| submitted your work for their consideration. | | | | Examine sentence structure, word choice, pacing |
| Susan Lockwood, a screenwriter from Southern | | | | — anything that will help you get inside the |
| California with optioned material, learned early on | | | | author’s mind and creative space. Become |
| that not following up can sometimes mean missing | | | | a student of the written word, and you might find |
| out on other opportunities to further your career. | | | | yourself mastering the art of storytelling. |
| But Lockwood often found making that call too | | | | Common Mistake #5: You’re a pretender, |
| daunting. “At the time, I just didn’t | | | | not a contender |
| want to hear another ‘no,’” | | | | What it is: Just as it sounds, this mistake is made |
| she recalls. “Too bad, because | | | | by those whose abilities lay outside of the |
| ‘no’ sometimes leads to ‘but | | | | screenwriting ring but who, out of ignorance or |
| what else have you got?’” | | | | sheer determination, continue to slug away. |
| Why you might be doing it: Like Lockwood, | | | | Mistakes one through four presumed a certain |
| writers might not follow up with interested | | | | aptitude for the art of storytelling and the craft |
| industry pros because the rejection they fear in | | | | of screenwriting, which could very well lead to a |
| this round — when someone has actually | | | | successful career in the movie business if a writer |
| taken the time to read your script — can be | | | | steers clear of certain common slip ups. |
| brutal. | | | | This last mistake makes no such presumption, |
| Fear of rejection at this stage in the game can | | | | and for many with screenwriting aspirations, it can |
| often stop a writer dead in his tracks. | | | | be a devastating reality. Yet it’s a hot |
| Don’t be that writer. In their new book, | | | | button among industry professionals, and so |
| “Ladies Who Launch: Embracing | | | | deserves examination. “In reality, 99 |
| Entrepreneurship and Creativity as a | | | | percent of all scripts we read are not worth the |
| Lifestyle,” authors Victoria Colligan and Beth | | | | time,” Unk says, and is a major reason |
| Schoenfeldt reflect on this career-crippling | | | | why industry pros refuse to read unsolicited |
| response. “Everyone gets stuck for a | | | | material. “We want to find screenplays |
| variety of reasons,” write Colligan and | | | | worthy of investing a small fortune. We want to |
| Schoenfeldt. “They may be paralyzed by | | | | read stories that knock us out of our |
| fear… or lack motivation.” | | | | chairs,” he says, but “it just |
| Beyond the fear is also the knowledge that, if | | | | doesn’t happen.” |
| someone wants your script, the phone will ring. If | | | | Why you might be doing it: When a movie is |
| you don’t hear back right away, however, | | | | brilliantly executed, with stirring actor |
| don’t assume the worst. In fact, industry | | | | performances, breathtaking cinematography, a |
| professionals are inundated with requests to read | | | | flawless score, and a beautiful story line, it comes |
| new material, even as they juggle other projects | | | | across as effortless. Factor in the six- and |
| in various stages of development. Case in point: | | | | seven-figure incomes that those in the industry |
| Recently, an A-list screenwriter and producer who | | | | command, and to the aspiring screenwriter, selling |
| blogs anonymously as Unk, The Unknown | | | | a script looks like easy money. |
| Screenwriter (see for invaluable information and | | | | Don’t be that screenwriter. In fact, if you |
| tips on the trade), shared with me that last year | | | | don’t have the chops, it might be time to |
| alone, he spent an estimated seven work weeks | | | | seriously consider hanging up the gloves and |
| reading and writing coverage for scripts, all of | | | | exploring other creative outlets. |
| which his company passed on. | | | | Righting the wrong: No matter where you find |
| No matter how busy, most industry professionals | | | | yourself in your journey as an aspiring |
| will take the time to respond to your polite | | | | screenwriter, feedback from a reliable source will |
| follow-up phone call or email. This is a call you | | | | always be your best indicator of whether or not |
| make no sooner than two to four weeks after | | | | you should even be in the ring. |
| submitting your script, and gives you another | | | | Every good screenwriter has in his or her corner |
| chance to present yourself as someone | | | | an advocate — someone who calls things as |
| who’s considerate and professional, leaving | | | | he sees them, and isn’t afraid to tell it |
| the door open for other opportunities that may | | | | straight. This person isn’t a cheerleader, but |
| come along. | | | | a coach, teacher, professional writer, industry |
| Righting the wrong: How best to avoid leaving | | | | executive — someone who has first-hand |
| your hat in the ring? “Do the thing you | | | | knowledge of what it takes to succeed as a |
| dread the most first,” advise Colligan and | | | | writer and who sees potential in your work. |
| Schoenfeld. “Make that phone call, craft | | | | I have been fortunate to have coaches in my |
| that email, and schedule that meeting… [it] | | | | corner who volunteer their time and expertise to |
| may move you in a new direction, even one you | | | | help me advance. I’m not there yet, but |
| did not expect.” And remember to take | | | | the success I have experienced, and the people |
| every pass in stride, moving on with the | | | | who have taken me this far, are reason enough |
| knowledge that you’re now one step | | | | to stay in the ring, even when the odds are |
| closer to a ‘yes.’ | | | | against me. |
| Common Mistake #3: Hanging on the ropes | | | | Wherever you are in the process, now is a good |
| What it is: A fighter hanging on the ropes is not a | | | | time to step out of the ring and take stock of |
| pretty sight. Bloodied and beaten, but too dumb | | | | where things stand. Consider the five mistakes |
| or proud to give up, the boxer works to steady | | | | outlined here, honestly assess your aptitude, and |
| himself as he summons whatever’s left to | | | | see where you can approve on your technique. |
| get back into the ring. | | | | Then, when you’re ready to make your |
| As a new screenwriter, shopping a spec around | | | | next pitch, expect your finessed approach to |
| town can seem just as unforgiving, and many | | | | knock ‘em dead… in a good way. |