It's an ongoing struggle for both produced and unproduced screenwriters to make or continue to make money from selling feature screenplays or teleplays. I pitch every week and believe me, I could do more than I'm doing. However. I typically have a regular pipeline of material being read by producers and productions companies. However, I'm not working with an agent.
For example, my material was recently pitched to Blumhouse, who respectfully passed on a pilot I wrote. My producer colleague sent me a note on Saturday and I advised him that project probably wasn't a great fit for them. However, I told him about two other horror and sci-fi features that might work better down the line. So my colleague asked me to send him the logline and synopsis for these projects. This all began last month when he asked me if I had a pilot. He wasn't looking for horror features at the time. But you see how used this situation to my advantage? Or I'd like to think of it as suggestive selling.
I interact with lots of screenwriters who tell me they're spending their time writing, polishing and competing in script contests. They're also waiting for that mythical agent or manager who will sign them because they're so talented and prolific. Hell, I frequently see the same post in this forum asking the question How do I get an agent? I think the better question is what are you doing to interest film industry types in working with you? IMHO, this is the difference between treating screenwriting as a business instead of a hobby.
What say you friendo?
What's the difference between hobbyists and dreamers? For me, I'm retired and don't need no stinkin' career no more (been there, done that). I see myself as a hobbyist writer-producer (occasional director) and sometimes teacher at this point. The filmmaking industry is first & foremost a business and if you intend to earn a living in it, then you better damn straight get serious about it and learn to handle the truth.
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I'm attaching Talent in front and behind camera.
So far, I got a lead actor on my side, a Film Editor who's edited one of the biggest franchise movies, a VFX animator working on Avatar sequels, a best friend who produces movie trailers for studios, and my first collaborator is a self-made movie & TV mogul; she still accepts my unsolicited emails :)
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I don't know....I think there's these long-time and at-times conflicting feelings in the creative fields about "being an (FILL IN ARTIST TYPE)", and "actually supporting yourself through your art."
"How can you call yourself a musician if you don't make any money at it?" "How can you call yourself an actor if you don't make any money at it?" "How can you call yourself a writer if you don't make any money at it?"
And at times, the struggling artist can begin to doubt themselves, too. "I'm not a real musician!" "I'm not a real actor!" "I'm not a real writer!"
But money sure has a way of changing those feelings. Non-paying jobs? Maybe, maybe not.
It's a tricky slope in a way, calling yourself a label, if you're not making any money at it, and no matter what label you put on it - there can still be conflicted feelings if you're not making money at it. I don't think too much of it anymore, which is why I call myself an "other" on my profile, but approach my goals in business-like ways.
And Phillip, if you need any tax write-offs for your business, I can absorb...say....50K...and I'll give you that benefit for....say....reading one of your scripts and giving you a three-hour phone consultation. I always try to help a brother who needs a quick tax write-off out!
And sisters who need tax write-offs, too!
Best fortunes in your creative endeavors, Phillip!
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Bill C:
Good answer Billy. I think way too much these days.
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I write films. I don’t have enough money to produce my films so I have to work with people that do. This means that they want to name the director and cast etc.
Everyone seems to focus on the sale. Which is what normally happens. So they do everything Phil mentions. They do contests, rewrites, go searching for agents. They build a wall between themselves and their film.
I think this is demonstrated in comments that distance the writer from the film. Things like “that’s the directors job” or “a writer can’t talk about camera shots”.
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good comments and thoughts there Phil. I guess for me it is a hobby or outlet as I have fulltime job but I don't disrespect the craft or "wing" it or slap something together without any real thought. I treat it and my writing with 100% professionalism even though it is a 'hobby.' So I think your mind set has a bit to do with it for sure. If you treat it as a hobby, you'll never get anywhere and do yourself a disservice. But if you treat the hours you put in with same attitude as professional, you'll produce good work and hopefully get good outcomes. But alas, I hope to get to a point where I can leave the world of urban planning and my hobby can become my profession!! Again, good article. Thanks for posting.
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I have no one job. I have my main income which is the Intelligence industry. I also have a Property Trust which derives income, plus I write.
I think a hobby for me would be guitar. I do it for pleasure with no intention of involving others.
I think hobby and professionalism is how you address it rather than the money it makes.
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Hmmm...My perspective has changed to more along the business line as I got deeper into the craft. But, at the same time, I'm doing it because I just have a love and passion for it, and want it to be my life.
I wish I could just write all day, but, unfortunately I don't have that luxury lol I need an income to allow me to continue building my career as a screenwriter. Hopefully I one day get to the point where it can sustain me.
I see a lot of experienced writers speaking on putting in the work, and I've adapted this into my being, embarking on this journey. But I often find myself wondering in what ways I can do this outside of contests, and pitching, you know. Luckily, I haven't fallen into the dream of waiting for an agent or manager to sign me. I'm eager to get into it and grind it myself, but I'm not quite sure what more I can do to get the film industry types interested in wanting to work with me, you know?
Business for me. I tend to both parents (which is a full-time job in and of itself), but my only source of income is writing.
I tend to write short films i can direct myself, as i'm a director as well i need content. I write features for friends who are able to shoot them as well, write features to pitch and pass along producers. I play in every field i can to interest film industry peeps.
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Phillip, I'm itching to get to the point where I'll be able to do more than what I'm doing at the present time in screenwriting.
Right now, when I'm not working as a machine operator in a plastics factory here in Omaha or helping out at the church I go to (to say nothing of getting involved with a music festival here in the area), I'm polishing up three scripts I typed out during the 1980-1994 period...as well as pecking out a brand-new, 2019 screenplay.
Being able to enter The Script Lab's free contest ($59 if you want a full analysis of your script as well) sure helps out...even if I don't get to the quarterfinals.
But I also want to be able to pitch through Stage 32 in addition to entering its contests. Lack of money has kept me from paying to pitch (as well as entering competitions that require entry fees)...but next month (five paychecks in it) should be the one to change all that.
I'm not looking for an agent right now...instead, I'd rather query production companies, and that's why I'm looking forward to pitching the Stage 32 way. (And I'm trying to learn all I can about how to do it the right way before taking the plunge.)
Thanks so much for posting, Phillip!
I desperately want to make this my business. I just don't entirely know how to. I pitch here on Stage 32, I'm going to enter some contests yes. But as I live in Florida and do not have the money to flight out to Los Angeles (much less a plan for what I'd do when I make it out there), I'm struggling a bit.
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Jim: That free Script Lab contest is very cool, isn't it?
Man, scripts written during the 1980's? That's a long time ago and so much has changed and made things easier and more accessible since then. I assume you're putting the older scripts into Final Draft or some other current software. In any case, I'm sure you're bringing a lot of experience to the table, Best of luck with your entry and keep me posted.
Phillip, you bet I'm putting those older scripts of mine into Final Draft. (The Power Mac I use for screenwriting has Final Draft 6...and even if that's five FD iterations ago, it still gets me the right format and makes formatting an issue I don't have to worry about.)
So much has changed, all right, since that 1980-1994 period...and today's technology makes screenwriting/TV writing easier and, personally, more fun (especially the editing and rewriting).
And that free contest from The Script Lab really is cool...and I definitely will keep you posted on what happens with "Jingle Belles" as a Script Lab contest entry. (Thanks for the link!)
All the VERY BEST to you, Phillip!
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Julia - you don't NEED an Agent to pitch/sell your work until you have garnered a bit of visibility/traction. Agents earn their living by selling your scripts - period. They need you more than you need them.