Screenwriting : Would You Rather... by Cheryl Allen

The latter for sure, but what I really want to do is create a 3rd option. A riveting film that's also socially relevant.

Unfortunately neither of these things can exist.

A mediocre script will not sell nor will a script with no commercial appeal.

So what we have to consider here is, do we want to be considered an artist?

As long as I’m proud of it, I’m good with it appearing ‘mediocre’ versus shooting for some artistic ideal.

I must disagree with Craig. If mediocre scripts didn’t sell, Hollywood would only produce about 20 films a year. Truth is lots of producers are willing to work with mediocre writers who don’t complain and don’t miss deadline as opposed to artistes who think their scripts are untouchable and can’t finish on time. Personally, I’d take the first option, because a successful film becomes leverage for later, more personal projects. And if you can’t polish a turd, this isn’t the business for you anyway.

The latter. Hands down.

I've got to write what's in my heart and on my mind.

Mediocre stuff pays bills, keeps thousands of people employed every day. These studios own lots of real estate, big buildings. They can't sit around and wait for genius screenplays.

I write whatever I'm paid to write until I make enough of a name for myself that people are willing to take a chance on something I want to get made.

The later. I can't really focus my energies on a subject or project I'm not motivated or interested in writing.

It's called show business and not show art for a reason and my goal was to make money not art..

I have written several scripts. Most are pure money makers but 2 are very special to me and worth seeing. I'd rather have 1 of those 2 made.

You got rent, mortgage, car payments...? There is practical and there is utopian fantsity - which do you prefer? You can't have one or the other - it's always a balance dictated by your own compression ratio.

James Cameron put it best (paraphrase): My commercial success is more important than my critical. It's the commercial success that allows me to make movies (which he writes himself). It's the 'Motion Picture Business' and that means revenue.

I'm agreeing with the last couple posts. Right now I am trying to get a cheap horror movie I've written noticed and sold. If it starts bringing in money it might open the door for the quality stories. And I've written a comedy that may not win any awards but I'd love making people laugh.

Even my most commercial screenplays are not insipid or mediocre. Always Endeavor to do your best work.

In my mind there's a place for everyone at the table. If you want to go full indy/art you'll just have to pay for your own dinner. But all guests are welcome. I can enjoy a great "commercial" flick and an indy with more depth. Yet, I don't always enjoy art for art sake OR special effects driven drivel. For me a great film blends a meaningful story with powerful visuals, a good plot with memorable characters. These things don't have to be mutually exclusive.

Lance Ness Script Revolution, great site. I have made sales via it.

Go work on the comedy. Make it so good that no one will dare say “no”.

Think of a pyramid. Great at the top, crap at the bottom. The more you move towards great, the less competition you have. You have control over your work. I am always pushing up, rather than fighting sideways.

When I write for anyone else, I never add camera directions unless they are important to the scene. So I might need to have a POV shot to enhance the suspense for the reader in a thriller or horror, especially. That said, when I write with my partner, Andy he likes me to put them in because he will be directing the one we are currently working on and so it's a reminder to him of what we discussed. I still don't go overboard, and only add ones he mentions. He knows my feelings won't be hurt if he disregards my camera move ideas nor will he feel like I'm trying to do his job. But if you are writing for someone unfamiliar, don't unless you HAVE to.

I'm of the opinion, perhaps falsely, that everyone starts in the mailroom. Prove yourself there and then you can earn the privilege of doing more creative endeavors. Write the pablum. Be safe but be killer at it and then you can build the reputation that lets you take riskier endeavors.