| Throughout filmmaking history screenwriters have | | | | opportunities including internships and jobs as |
| used many methods to achieve success in | | | | assistant writers. |
| Hollywood. Nora Ephron (When Harry Met Sally, | | | | One of Tim's early jobs was as an assistant |
| 1989) easily gained access to Hollywood as the | | | | writer for the 1987 film North Shore. An array of |
| daughter of stage and screenwriting team Henry | | | | writing jobs and internships can be found online |
| and Phoebe Ephron. Charlie Kaufman (Being John | | | | through websites like and |
| Malkovich, 1999) juggled many jobs and wrote for | | | | Tim urges beginning writers not to lose hope, |
| the T.V. series, "Get a Life," before catching the | | | | saying that it took him more than six months to |
| attention of producer Steve Golin. Alan Ball | | | | write and revise the screenplay for "Iron Giant" |
| (American Beauty 1999) chose a different path; | | | | even with his strong educational background and |
| he first worked as a theater producer and writer. | | | | years of professional writing experience. |
| Producers Marcy Carsey and Tom Werner invited | | | | As gifted, hard working writers, both Dan |
| him to Hollywood because they both saw the | | | | Bucatinsky and Tim McCanlies recognize the |
| debut of Ball's hit play, "Five Women Wearing the | | | | significance of contacts in Hollywood. Hollywood |
| Same Dress" at the Manhattan Class Company | | | | studios receive thousands of scripts each month. |
| Theater. | | | | Of these thousands only a few hundred may |
| While Hollywood screenwriters have their own | | | | make it from the mail room, past the intern's |
| success stories, they also share strong work | | | | desk, and into the executive's office. In the rush |
| ethics and know how to foster vital business | | | | to read and pass scripts through the hierarchy, |
| connections. This article examines how current | | | | Hollywood studios push many screenplays to the |
| Hollywood screenwriters Dan Bucatinsky and Tim | | | | back burner or, worse yet, immediately discard |
| McCanlies learned from their predecessors' habits | | | | screenplays without review. Some amazing |
| and how they jumpstarted their writing careers. | | | | screenplays end in the trashcan while many |
| Dan Bucatinsky is a talented and disciplined writer | | | | mediocre scripts are approved for production. |
| who broke into the Hollywood scene in 2001 with | | | | Why does this happen? |
| his romantic comedy, "All Over the Guy." A 1987 | | | | Because when a script arrives with a cover letter |
| graduate of Vassar College, Dan took advantage | | | | of recommendation from an executive's old |
| of his education and worked diligently to learn his | | | | professor, friend, co-worker, etc... it goes straight |
| craft and develop a unique style. His time spent | | | | to the top of the studio's "Read Me Now" list |
| writing countless papers, stories, and scripts in | | | | regardless of quality. This is the reality of the |
| college attributed to his screenwriting excellence. | | | | Hollywood system, however unfair it may seem |
| When he returned to Vassar in 2004 to advise | | | | to newcomers. |
| aspiring screenwriters Dan emphasized the | | | | The smart screenwriter will accept this reality and |
| importance of writing everyday. | | | | make the most of his/her connections to ensure |
| "Even when I draw a blank, even when I don't | | | | that their script lands in the "Read Me Now" list. |
| feel like working, even when nothing I put down | | | | Although mixers through organizations like the |
| on paper is any good...I force myself to write for | | | | American Screenwriters Association and the |
| at least a couple of hours everyday," Dan | | | | Writers Guild of America are good places to |
| revealed. | | | | make contacts, the schmoozing element of the |
| This discipline is a trademark of successful | | | | business often requires some luck as well as hard |
| Hollywood screenwriters. According to Dan, a | | | | work. |
| writer's willingness to push himself can prove | | | | For example, Dan Bucatinsky was close friends |
| more significant than raw talent. There are many | | | | with a woman named Lisa Kudrow when he was |
| naturally gifted writers; what distinguishes a great | | | | studying to become a writer at Vassar College. |
| writer from a good one is the technique they | | | | When Lisa became famous for her role in the |
| have gained through careful study and years of | | | | popular television sitcom, "Friends," she helped Dan |
| dedication. | | | | achieve his Hollywood dream. She ensured the |
| Several helpful books exist for writers seeking | | | | production of "All Over the Guy" by signing onto |
| guidance as they try to develop their skills, | | | | the film as an actress and recommended Dan as |
| including, "Crafty Screenwriting" by Alex Epstein, | | | | a writer to many Hollywood producers and |
| "Adventures in the Screen Trade" by William | | | | directors. Dan and Lisa continue to collaborate on |
| Goldman, and "Secrets of Film Writing" by Tom | | | | film projects, and he writes parts for her into his |
| Lazarus. Dan Bucatinsky and countless other | | | | screenplays. When Dan speaks to students, he |
| screenwriters rely on these resources to craft | | | | stresses making valuable friendships in college and |
| innovative, creative screenplays. These resources | | | | urges students to view writing as a business as |
| can be bought at any bookstore or online at ( | | | | well as an art. |
| Like Dan Bucatinsky, Tim McCanlies (Iron Giant, | | | | Tim McCanlies also credits much of his success to |
| Secondhand Lions, Dancer, Texas Pop. 81) gained | | | | luck and connections. Without the support of Gary |
| attention for his artful writing. He nurtured his | | | | Shusett, an associate producer on the 1988 film |
| natural writing talent by practicing and revising | | | | "Moon Over Parador," it is unlikely that Interscope |
| scripts when he wasn't working at odd jobs to | | | | would have read Tim's unsolicited screenplay |
| support himself. | | | | "Harlem," let alone optioned it. Once Gary Shusett |
| In 1979 he published his first novel, "Harlem," and | | | | helped him get his foot in the door, Tim had the |
| enrolled in the Sherwood Oaks Experimental | | | | opportunity to make films with rising Hollywood |
| College to further study writing techniques. While | | | | stars like Brad Bird (Iron Giant 1999, The |
| in school Tim simultaneously excelled in his classes | | | | Incredibles 2004) who appreciated his work ethic |
| and completed a screenplay based on his novel. | | | | and creativity. Tim's career as a Hollywood |
| His hard work paid off: college founder Gary | | | | screenwriter thrives today because of the |
| Shusett noted Tim's diligence, read the screenplay | | | | connections he made and fostered as a young |
| for Harlem, and helped to get the script optioned | | | | writer. |
| by Interscope. | | | | The key to breaking into Hollywood as a |
| In a recent interview Tim revealed that he still | | | | screenwriter is twofold: a willingness to write, |
| writes everyday and added that "the key to | | | | study, and practice with consistency; and a talent |
| good writing is to focus on developing strong, | | | | to develop relationships with people in positions of |
| interesting characters." He stressed the | | | | power. There is not one right way to be a |
| importance of building up a writing resume, | | | | screenwriter, but these elements are significant to |
| encouraging aspiring writers to embrace all learning | | | | achieve success in Hollywood. |