Screenwriting : How to Get Moving in the Industry by Arial Burnz

What I've learned (or learnt in Texas!) is that you have to have thick skin. Be willing to listen to all criticism, but that doesn't mean it's all helpful. One person will hate your story, characters, etc., then ten others will love it! It's fun. Kind of like a dis-fun-ctional family! Being sweet isn't a bad thing, just don't let anyone know that you are! You'll have to let some things roll off of you with a smile and just keep writing - and rewriting, and rewriting...

NICE IS ALWAYS GOOD. And folks are good to me because of I'm nice; I like being kind as the world is a pretty harsh place (I do however have a teeny bit of road rage, but I digress.) The couple of posers I've run up against have been very few in my ten years doing this. But too, this business seems to be anything but: it's more about being ready IF and or when luck hits. And it's been my experience that lady luck ain't no lady; she's a slut in cheap shoes and if I'm lucky enough to hear her coming, getting my clients sold, and seeing that the script is set up and shot (AND I'm sitting on at least THREE scripts of my stable of clients which are most certainly Golden Globe Oscar bait vehicles) I may as well try to walk to the moon. I read for the love of the craft and of the story itself and I tell my clients if you're in a hurry this is not the business for you as it's very hit or miss. And my clients tell me this: "I'm out there pitching, and swinging to help my own career" and that's how it should be - it simply can't be all on the agent or manager. The other thing I'm starting to hang my hat on is market ready; it's one thing to place or win a contest. It's another thing to read market ready material but it too is a lot like porn; you can't really describe market ready, but you know it when you see it. Writers must read MORE scripts than I do. It matters. It matters more than anything other than having a schedule of marketing each week (work the phones an hour a week or more every week dear writer your competition is fierce) writers must read what's selling. Hang in there. It's a fine journey indeed. BABZ

Hi, Jeff! Thanks for the input. Tough skin - check! As a novelist, that's something I've come to develop. You can't please everyone. I have hundreds of reviews on my novels and some readers just seem to get off on writing nasty reviews. I roll my eyes and move on. However, if that same feedback is consistent in bad reviews, I take notice. I learned not to get emotionally involved in feedback and use it to better my storytelling. But I totally get you about the dis-fun-ctional family! LOL Thanks again!

You're in Los Angeles, You're already winning. Attend film festivals like Sundance, SXSW. Meet filmmakers. You got the words. Now you need a partner with a camera, a Director... Build a Team.

make a feature film; learn how to make a movie, 75 to 80 minutes is hard to do physically and mentally. Write a script with what you have. Don't need much money. Just the will.

Ava Durvenay started her career at age 40. Single working mom. No Film School. She just got tired of playing the Hollywood BS game; writing scripts nobody will do or read.

Hi, Babz!! WOW! I love the feedback!! Great input, indeed!! And I LOVE your comments about Lady Luck. Bitch. LOL

Thanks for sharing your own experience with being NICE. Being a corporate trainer taught me to deal with difficult people...and we can all be subject to a little road rage, huh? I love to make people laugh, and that's usually a big win for building relationships, so I have that in my back pocket.

Based on your input, having an arsenal of scripts in my bunker is a great idea, yes? If so, I won't even approach anyone until I've got a number of those babies under my belt. I've been hearing the follow-up question to many spec script submissions is, "Well, this won't work, but what else you got?" whoopsh Arial whips out another script, ready for the question. OR could another appropriate response be, "Well, what genre are you looking for? Perhaps that will help me narrow down what to show you."? eyebrow waggle Yes? No? Arial's inquiry mind wants to know. nudges the uber amazing agent Most of what I write has some element of paranormal, but I have a ton of story ideas that range over genres - fantasy, paranormal romance, regular romance, horror (okay, maybe dark fantasy), romantic suspense, etc. Sooooo, I could very well have a ton of material at the ready - not something with which I struggle.

Read lots of scripts that have sold - Check!

No hurry? No praaahblem! (<--Chicago accent coming out) The good news is I have a large mailing list (well...large compared to most authors - 13k+), so I've built a fairly devoted fan base who provides a rather steady income through book sales, so the dry spells between selling scripts are made up by my novels. And my husband has a full-time job, so I definitely have the luxury to "wait". I'm in no hurry. I write from home full time. I am curious, though, about how such a background helps or hinders my image in the eyes of an agent and/or manager I'm courting. Does any of this seem appealing to an agent? Or is this just a sidebar that means nothing? I am working on adapting my novels into screenplays, so there is a small audience for them, however, nothing an agent/manager would be salivating over...yet. ;) Just wondering if any of that is worth mentioning.

You're a rock star, Babz! Thank you so much for your insightful feedback! Mwah!

Babz is nice (I knew of her back at SimplyScrips)! Glad to have you here. Yeah Arial, since you've been a novelist, the feedback will be similar. Good luck to you on your projects this year!

Hi, Dan!!! You are my hero!! Thanks so much for those encouraging and confirming words. Attending those events are definitely in the plan. Do you think I should be attending them before I have any scripts done? Or just go to take in the scene and learn? I would assume YES is the answer, but I thought I'd ask anyway. Thanks again!

Scripts are useless. Sell yourself. Volunteer one weekend and help a shoot. meet filmmakers who share your interest, write a story together. Divide up responsibilities.

The 1st feature film gives you credibility. The endgame is making movies; not about writing scripts.

"Scripts are useless" A rather extraordinary thing to tell a writer. I have a different take on the script.

Well, Dan-the-Man...I have a lot of respect for your opinion, as you and Uncle Phil are my new heroes. :D

Let me see if I can take a crack at your advice. I agree with Mr. Marcus..."scripts are useless" is a rather extraordinary thing to tell a writer...but I think what you're saying is we as writers cannot be focused just on the writing part. To be successful in this industry, we have to do more than just sit at the laptop and punch keys, send out our words and cross our fingers. We have to be INVOLVED in the industry. We must know the business inside and out to peddle our words.

The scripts in themselves are useless. It is the connections we make, the relationships we build, the experiences we gain at producing our own words and the love of the craft, which benefits our writing.

¿Si, señor?

Thank you for your input, Gentlemen!!!

And Steve said he started with ZERO talent! LOVE his movies.

Best way in 2017 .....make your film. I'll help you.

Arial

You live in LA. Everybody in town has scripts. The mailman, the coffee guy, the bus driver. 500,000 Stage 32 members. everybody here has a script. But a movie, a feature film, a short, even a produced Wedding Video- that separates the Talkers from the Do-ers.

Follow Sean Speake, Phil Sedewick here on Stage 32. They're making their movies. I hear Stage 32 founder, R Botto, is making his own movie.

It is more fun than writing and you will have something to show family & friends. Family gathers 'round the TV set, fresh popcorn, watch your movie... and one family member say, "How the hell did you make that crap?" Priceless :)

Dan-the-Man!! GREAT advice! Thank you so much.

Hi, Fiona!! Arial frantically waves her arms in the air

You are too adorable and I love your positive attitude. You're dreamy, but realistic. And I mean that in a totally good and sounds-like-me kinda way. :D

I also hear ya on the P&P with a side of Zombies mashup. Who FUCKING knew is right!!!! I'm still trying to figure out what I'm going to do with Dracula. LOL

Thank you soooooo much for the reference of Stephanie Palmer's blog! I am so checking that out!

A question about your comment regarding the contests and getting under the noses of decision makers. Since you're also a novelist, do you know anything about the contests in the publishing industry? If so, I'm wondering if you know or heard about what I learned....

I'll tell you a little story...and I don't mean to be a buzz-kill, but this was my experience with literary contests. There are those contests that are HUGE...the RITAs, Bram Stoker Award, yadda yadda...and those DO carry SOME weight if you win them. But they're more bragging rights than really giving you any influence in the industry. And though they do get you in front of editors and agents, I learned such opportunities are really not that impactful.

When I became an editor, I learned a little secret. Yes agents and editors do indeed judge them. SOME (not all) of the judges participate in those contests because their publisher or agency told them to and it's not a job that is coveted. Contest submissions are just as bad as, or worse than, the slush pile. There are very little gems one finds in contest entries. Yes, authors can win contracts from such contests and if they're good enough to win the contest, they stand to get representation. But every contest has to have a winner (ha! I subconsciously typed wiener), so that SOMETIMES means the winner of the contest is the best of the slush pile. AND I've heard a small handful of literary agents personally tell me that awards in contests don't mean anything and hold no weight. They ignore the awards. I've been told their experience with award-winning authors is they can kick ass at winning contests, but don't necessarily write scripts that are marketable or worth granting contracts.

Now...to my question...have you (or anyone reading these comments) heard the same thing about screenplay contests? Do they hold any weight in this industry? If an agent sees a writer has a lot of awards for their unproduced screenplay, does that give the screenplay extra consideration in giving it a read?

I hope that didn't throw a wet blanket over your involvement in contests, Fiona! I am still going to join them just for the sake of pushing me to finish those scripts and get them in front of people in the hopes I receive useful feedback in a "safe" environment - meaning it's okay to make mistakes and contests are a great way to make those mistakes. I definitely hope contests in the movie industry have more weight. That would be a relief to know!

Thank you so much for your comments, Fiona!! Mwah!

Here's what we agents do: we read - and if it's great we know it RIGHT AWAY and if it ain't we know it right away and sadly ONLY GREAT will do. Even then, it's a mad dash to get it in the right hands and THEN the prod's distributor MUST be on board cuz they want to know "who is going to star" and that usually means TALENT must be attached. All agencies are different: for example WE CAN'T PACKAGE - even though we are WGA. Pitching cold (what I do) is purely for the love of the sport and once I hate it I will stop. But most big guns (WME, CAA etc) they package meaning they find the script they call the talent's MANAGER then they read it and more than likely suggest it to their client to read it but even then it's a house of cards. I think it very wise if you are not produced to have a GREAT GREAT GREAT single/few location cheap shoot in your arsenal. It's a good way to get a credit if it gets picked up. The first script I sold (through Ink Tip) was set up, shot and airs pretty much every Christmas on TV. Job done. And that one? PURE LUCK. I had what that producer wanted. Period. I'd like to think it was me: but it wasn't. It was only that I saw something in that script, signed the writer then the producer saw something in that script, too. And the villagers rejoice!

LOL! That's GREAT input, Babz! And having that extra tip about having a single/few location, cheap shoot is gold! I would wager that's a great spec script to have on hand at a minimum and a feather in your cap if/when it gets bought and produced. :D Duly noted!

Take Lady Luck totally out of the equation and self-produce. Similar to how you would self-publish. Soliciting the Industry is very much like buying lottery tickets. Don't get me wrong, there are scratch-off winners. But true winners in my book don't spend or buy (lottery tickets)... they invest. Invest in yourself and a production. At least when you're done, you'll have something to show for it, instead of just a pile of vouchers with wrong numbers on them.

Thanks for the feedback, Pidge! I hear what you're saying. However, as an author, I self-pub AND I consider and play in the industry. When the right deal comes along, I'll take it. Otherwise, I'll keep doing my own thang. In publishing, such authors who are self-pubbed and traditionally pubbed are called hybrids. Maybe I'll be a hybrid screenwriter. :D

Well, I tell ya...I LOVE this community! So encouraging and full of useful information. As they say, the rising tide lifts all boats! We're all there for each other and I love it!

From what everyone is saying here, I think you've confirmed the plan I have detailed above is pretty solid and I've added in a few more gems from all of you.

Fiona - As long as you take your Vitamin D, you do not need to get out more. LOL As I said, that was not a bash, it was a compliment. I'm dreamer and optimist and I admire that about you. I will certainly keep contests on my list of things to do. I'll take Dan-the-Man's advice about producing my own shorts; Babz about having that single/few location shoot script under my belt and explore all the website and teacher options mentioned in this thread. Oh...and most important...KEEP ON WRITING!

NEVER GIVE UP! NEVER SURRENDER!

And by the way, thank you, Mark Ratering! Please accept my connection request so we can start a dialogue. :D

As you said, there are a couple of contests people seem to care about; the rest are not really considered. Spend that money on subscriptions, webinars, stuff like that -- but some of the contests offer that stuff as part of their prize package(s), so get the most for your money, however you choose to go about it.

Making short films, or films of any length, has nothing to do with screenwriting. YouTubers do it all the time -- a lot of them are really good at it, and I hear they make a lot of money, so that's no knock on them! -- but unless you're going to be a filmmaker, focus on writing. Do it once or twice for the experience, but if you aren't doing it with a cast and crew, I don't know wtf that has to do with anything.

If a reader is more likely to watch your short video than read your script, that person is a screener... and a slacker. Unless your film is a trailer for, or somehow related to, whatever script you're selling, it makes no sense (unless you are strictly a comedy writer, for example). Maybe if you are also an actor or director -- something like that. If you're going to spend your resources making movies, do that -- setup a studio and go to town.

Almost nothing you're going to deal with has to do with making movies. Most of it is so exceedingly fucking stupid that if you do not quit the industry in a rage at least once, you don't deserve to be in it in the first place. You will have to cut scenes of milk cartons falling out of refrigerators because the Dairy Farmers' Assoc. doesn't want to be "associated" with your movie, or it paints milk containers in a bad light... honestly. Learn where "Duluth" is, because it apparently sells a lot of movie tickets (I'm told it really is a place). Really dumb stuff that no one in any healthy, mental state would ever think of for any reason -- but most of it doesn't matter that much, it's just... weird.

I guess written pitches are "queries?" I've never queried anyone in the motion picture industry -- I've never even heard that term outside of publishing. I've never read a script that didn't have camera angles/direction in it. I've never had a director refuse to work on a project because s/he couldn't figure out how to strike blocking s/he didn't like.

Most of the people you meet at this level are called "gatekeepers," not "door openers." These days, most of them seem to think it's their student rally, or they're handing-out flyers in the voting booth parking lot, or something. If you write Bad Things Are Bad, pt. 18, you are going to be a big, big star! ;) Seriously, their power lay in keeping you from getting meetings, not introducing you to people who make movies. Anyone who tells you scripts or screenwriters don't matter is engaged in some other business. Anyone who is not a writer or actor that gossips should be avoided; any writer or actor who does not gossip is a sociopath.

"Be nice to everyone" because you will need to buy drugs from some of them. Seriously, everyone in this industry is either a child or a criminal.

Of course I'm being silly (for the most part) -- just write scripts and have fun. And save your money! And to anyone who is not a screenwriter who might happen to be lurking, just looking for a reason to say no, or whatever... this is not your place.

CHL, hit it, Yo! Good stuff. And funny, but yes good good good.

Everyone has great suggestions...this is why places, such as Stage 32, make such an impact on al of us, regardless of the years, months, or days we've been in this business. I think with a tough skin and ambition, Arial you can do whatever you set your mind to doing. It's not going to be instantaneous, but you already know that from selling books and your family being in the business, but hard work pays off... and for all of you that don't know, Arial is an excellent author and screenwriter.

Sure! :)

"Be nice to everyone because you will need to buy drugs from some of them." --C Harris Hilarious C! We''ll keep that in mind.

That was the part I was serious about, Pidge. ;)

Izzibella - AWWWWWWWW! You are so sweeeeet!!! (Arial passes Izzi $50) ;)

TRAVIS SHARP SIGHTING: I think I just saw Travis at the corner of Hollywood Blvd. and Highland, holding up a sign that read "THIS SCREENWRITER HAS THE MOST HORRIFYING SCREENPLAY OF ALL TIME!"

HAHAHA! Where has he been? (Suspiciously quiet!) :D

I did the opposite. Instead of querying Managers & Agents that everybody in town knows, I targeted Writers, Filmmakers, Actors on their client rosters. Build relationships over years, personal referrals to decision makers, Owners of companies.

Nobody ever talks "unsolicited" submission nonsense. Seems the business is all unsolicited material, everybody s looking. (they will only read when somebody they know vouches for you).

Claude! Don't make me start slurring my... words.

I once queried Dan O'Shannon because I know him and wanted him to produce something I want to do. So, I lied about that.

He sent a Hit Team to my home what both raped my mother and also murdered my father.

That's how I will always remember Dan "THE MAN" O'Shannon. :(

Asking if you might send over a log line or 1-sheet, whichever is preferable, has worked well for me. We are trying to build time investment with execs and their assistants and get that first "YES." Hopefully, they will get back to you with the "second YES screenplay request." This also tells them you are respectfully aware of their busy schedules.