Screenwriting : What should a screenwriter realize about "Hollywood"?:) by Victor Titimas

That you shouldn't give a damn about any of that crap. You should write the story, you need to write and not give it a second thought.

Omar is absolutely right. Write the stories you want to tell. There will always be naysayers and pessimists - don't let them or anyone stop you.

For me, I defined my goal some time ago, and that was to write the stories that captured me. Sure, I have dreams of seeing those stories on the screen or in print, but that's corollary to my main goal. I also love to learn about storytelling and writing so I can become a consistently better writer. And realistically, in today's world, Hollywood isn't the only place.

Of course, if your goal is to become a "Hollywood screenwriter" then that's a whole other set of skills (beyond writing) - rhino hide being the foremost! :)

Thanks CJ!

Man.....there are so many spec scripts in production or pre-production right now....only a mingamoosh would make a statement like "nobody is interested in spec scripts". All you have to do is look at The Tracking Board's 2017 Hit List of Spec Scripts to confirm the interest.

I just got four read requests in the last week for spec scripts I've written. So I wouldn't say no one is interested in them. Getting them beyond being read is a challenge, but I think you have to view spec scripts as a calling card rather than thinking they'll ever get made. They help open doors, hopefully leading to writing assignments and future collaboration.

Migdalia, a spec script (not film, script) is a screenplay you wrote that you were not hired to write. Spec stands for speculative. Non-commissioned and unsolicited.

No. A spec script is your own original idea. A script that a screenwriter is hired to write is the idea of someone else- usually a producer or other exec. Most writers in the industry make their $ from writing assignments.

Bill C

I love you and Happy New Year!

So does it mean that originality is not welcome in Hollywood? How do you get your own story out there and have it noticed?

No Nester, originally is welcomed in Hollywood. You get your own story out there with lots of hard work. There are many different ways writers get noticed.

Victor, you need to stop reading that site. You get really bad information there.

I remember a wise person once saying to me when I was younger, DON'T listen to all of the negativity. Just keep on writing. And, as Dan Maxxx pointed out above, like those writers he singled out, you will find a way to get it done. Also, while you are pushing one project, be working on writing another. ABW. Always Be Writing. ;)

Whoever told you that has no idea what they're talking about. Someone recently wrote the same thing, but if you look on Stage32, or get InkTip's Newsletter, then you will see there are plenty of people looking for spec scripts. Yes, TV is king right now, but have both in your arsenal.

Let me quote the late Christopher Reeve:

"So many of our dreams at first seem impossible, then they seem improbable, and then, when we summon the will, they soon become inevitable."

So dream big, picture yourself succeeding and then do everything you can to make your goal to get films made. Films that are using your scripts.

How do you do that? Here's what I recommend:

1. Write as many screenplays as you can. My average has been six scripts a year.

2. Look for every opportunity to get your screenplays read.

3.Do as many free queries as you can. But know that many of those will remain unanswered.

4. If you have to pay to play, then save your schekels, and use Pitchfest, Happy Writers, Inktip. And, though I'm not a fan, some people have had success with Blacklist. (But paying for reviews at 75 bucks a pop can add up fast and still doesn't get your material in front of a producer). At least with the other services, you're getting a shot at an industry type. Just make sure you research who your pitching and determine if your material will be a good fit.

5. Pay for premium IMDb and contact people with information available at their website.

6. Be prepared to challenge yourself and exit your comfort zone. That means if you only write horror and someone wants to pay you to write a sci-fi script, then take the gig and challenge yourself to do your best work writing sci-fi.

7. Look for projects where the competition might be thin. I've had decent success doing this.

8. Be prepared to suck up a f#kload of rejection, back in the sunshine of your infrequent successes and be prepared to then ingest a f#kload more rejections.

CJ, I greatly respect your words of encouragement and appreciate all you do for the screenwriting community. As far as to respond to Victor's inquiry, much advice may be clichéd, but just keep trying to get your work out there. What little success I've had is the result of submitting and/or posting my scripts in places I was given the forum to do so. Believe it or not, the right people are out there.

Victor, would you please share your source(s)? You often post questions, citing a website or something -- "I just read..." And frankly, whatever you "just read" seems rather fraudulent, cynical or inflammatory in some way. Is it some blogger? Or some service? Or a book? Or perhaps an outdated article? It would be helpful to know or see your source reference, give us an opportunity to view these sources for ourselves, objectively. You could post a link or just share more information and context. Thanks. ;)

I found it on a question and answer website

https://www.quora.com/What-should-screenwriters-know-about-Hollywood

(the first answer)

I know it says they are meant to be just writing samples, but it says they are not interested in screenplays to buy them...:(

Yes, I have a reddit account(I don't know if it's ok to mention its name here..:()... I post questions there as that user...

Regarding the text I read, it also sounds pretty harsh and brutal...:) "No one wants to buy your script. It has nothing to do with you, or your talent level, or the script. But the market for original scripts has dried up to the point of being nearly nonexistent"(from the link I posted)

Dan MaxXx is a very real person who chooses not to post his real name or picture on S32. But I assure you, he's been a very helpful resource to me. This included shopping one of my scripts to a well-known talent agent early last year. Dan also provided me with an angle regarding content I hadn't considered. Some of which I ended up using. He has several film credits, including two films he wrote starring Eva Longoria.

As far as the location of a screenwriter. I believe it matters little where you are on the planet. What matters is your willingness to hustle and look for every spot you can to put your work into consideration with people making films. This year, I made friends with a writer who lives in Melbourne. A few months back, he won a major film festival and recently received a script request from one of the big three agencies.

So Uncle Phil recommends folks spend less time being sad and more time finding ways to further your writing careers.

God bless us, everyone!

https://www.youtube.com/watch?v=kSyx6DaUwxA

Victor, I ask because I can (we all can) be of more insightful assistance to you (and to anyone else who reads this thread) if I (we) have more context, more information to draw upon. I also ask because I'm both curious and concerned that you are getting misinformation or misdirection. We're in this together, are we not? As a community. Trying to navigate the wonderful madness of screenwriting. And, yes, you may post links here at S32. :)

Agree with Phil and I'll add this. A friend of mine, a successful working screenwriter who has written scripts for many big name producers, said that while you don't need to LIVE in LA, you need to be willing to BE in LA. He keeps a house in Venice (an effing amazing house! I want!) but his primary residence is another state.

That means you have to be willing to fly out and take meetings, talk to people, sit down with them. I go to LA 3-4x a year and try to set up at least one "general" meeting with execs I've connected with over the years. It hasn't amounted to anything concrete yet, but I'm networking, getting my name out there, giving them a chance to see me as a person rather than just another script in a pile of scripts.

And Dan Maxxx is fo-real. I've read some of his work and he's got true talent. He's realistic and maybe that comes across as harsh to some, but I think a lot of his advice is quite accurate. If I was 25 and fresh out of college, damn straight I'd be moving to LA and getting a job at a studio somewhere.

C.J. I'm with you. What say we adjourn to the Pub for a pint?

Thank you all for your wonderful comments here! I am indeed an "outsider", meaning all I know is what I read. For instance, I read another negative article, that was so harsh this time, that I almost cried. Here is the link:

https://delicioustacos.com/2013/03/07/how-to-be-a-screenwriter-in-hollyw...

And it says it was written by a Hollywood development exec...

Jody, some GREAT comments. Kudos to you! While I work full-time in the business, as a writer, producer and director and I do work out of the New York area, I still go to L.A. one or two times a year for 2-3 weeks each time. And, what you said about setting up one "general" meeting each trip is wonderful advice. I've been mentored by a 2-time Oscar-Winning producer who produced arguably the Greatest movie of all-time (pretty widely regarded) and another Oscar-Winning Best Picture that was no slouch! After every meeting I get with him, I walk out feeling like I am walking on air. Hearing him compliment my work and offering me advice and help is priceless. Just yesterday I got an email from another producer / actor that I respect regarding a script I am setting up to direct with my favorite actor of all-time and his words had greater value than gold. Also, even if nothing has come from your general meetings - YET - you are building relationships. Over the course of a decade (which sounds like a lot but goes faster than most realize) see where your relationships have taken you. My guess is to some paid gigs and some work you really respect. Excellent comments again!

Doug: You buying? Anyway, I'm drinking at home and toast Doug, Dan M, CJ (Scriptrevolution) Walley and all the rest... yes, even Beth.

No Migdalia. They aren't likely to foot any bills unless they want you to sign on the dotted line for the purchase of your script.

But sometimes they give you a free bottle of water! ;-)

Victor, that looks to be a personal blog of some kind, from who, I'm not sure? And I don't wanna know. Some Wordpress blog? I don't see a name. It's cynical and just... icky. Personal blogs can be myopic, opinion pieces. Perhaps seek more positive, insightful, helpful blogs or sites, like John August's. Seek blogs and sites and podcasts that share industry information and resources without the cynicism, created by people who are excited and love the craft, and yet offer realistic, practical knowledge and know-how, not hyperbole. Scriptnotes podcast is great. Or others? Be selective. Perhaps read the trades for a sense of the market, what has actually sold, what's in development, etc, not some seemingly out-of-date, single-point-of-view blog. Tune out the negative. :)

So many books available to give an idea of how the business works - read them!

Another zombie post brought to life. But it is a question that ought to have a little light shined on it. What should screenwriters realize about Hollywood? I assume you're talking about those on the outside trying to break in. The first and foremost thing to realize is that nothing/nobody in Hollywood is real. Next comes the realization that 'they' don't want you there. Youse guys argue about that for awhile.

First, are you interested in working in the “Hollywood” way? There is an entire planet making film. If you are a TV writer that is even more global.

If you do want to work in Hollywood there is a million articles, blog posts and theories. But they are all academic unless you are a great writer.

Hurry up and wait! You go by their timeline.

There is a definite buzz going around Hollywood right now that involves a catchy little phrase being hurled around some agency offices for an in-house tongue-in-cheek laugh or two to break up their crazy monotonous day. It may be where Victor derived this from. I heard it again just this morning on the phone from a working director who heard it from his agent's mouthpiece--

"The spec is dead."

Now before you get up in arms about this, realize that many studios and major production companies develop their own IP, which basically, in the incubator stage is equivalent to, yes, you guessed it, a spec script. It's just not called that because they pay a salary to a company writer or outsource it to a brand name or produced screenwriter to get cred-mileage out of it, all while all under the official term of first-look or overall deal. They call their specs (+ pitch decks, cast packaging) more fancy words, like, programming slates, development deals, and signature shows. This is nothing new. Agents have been known to gasp at having to DEAL with a spec script outside regular working-writer channels that has no DEAL, legs/movement, steam, financing, or flagship studio behind it. What the Industry calls "set up." Who could blame them. Keep writing. Most of us aren't submitting to agents at the onset.

Top winners and placing specs from reputable contest and festivals are still receiving competitive bidding. If there's an agent out there who would like to expound a bit, we'd love to hear.