If you read my posts, you'll know I don't advocate waiting around until an agent wants to sign me for my stellar talent. I'm constantly reviewing trade ads and looking for opportunities to pitch work. Consequently, I have some promising activities happening in 2023.
However, when answering ads, you have to sift through many low-level folks who forget what a win/win or quid pro quo situation means. If I do spec work, the least I expect from my producer/collaborator is that they will contribute sweat equity to pitching my work and securing financing to make a film. So as the saying goes, You have to kiss many frogs to find a prince.
I occasionally check Craigslist "Writing gigs" and have sometimes found some interesting ads, which included working with an established television actor and his manager. However, I found a lot more ads like this one I reviewed today:
This is not about a job. This is about "gigs" based mostly on "spec" (i.e. you get paid if the script is sold). I am seeking a screenwriter and/or producer or director and/or agent who can get pitch meetings with networks, studios, and production companies. One pilot pays a $1000 fee to you, and 50/50 of creator rights if the Pilot is sold. The other pilots are based upon "spec" only. Also seeking a writer to format an already written book for 80% of royalties "if" sold. Your reward is described below.
The ad's author offers several other projects, including a novel they want the writer to sell to a publisher. And They're willing to share fifty percent of the profits of these unsold projects without contributing any screenwriting. But they'll give you their outstanding story notes. Whoopie! Maybe I should come over, clean their house, buy their groceries and drive them to their AA meeting?
This is the part of the ad I love:
I am seeking a screenwriter and/or producer or director and/or agent who can get pitch meetings with networks, studios, and production companies.
About two months ago, I exchanged emails with this person via another service. At that time, I reviewed their material and quickly assessed that if someone who wants me to be their writer needs me to secure pitch meetings with producers, then what the F#%k do they bring to the table?
Needless to say, this gig opportunity was a hard, hard pass.
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Phillip. They brought their chair to the table.
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This person's been advertising for a couple months. I wonder why they're not getting any takers?
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I can definitely relate, Phillip E. Hardy, Prolifique. Sometimes I read a screenwriting gig ad and think it's going to be a great job, then I get to a certain part of the ad and think, "Nope." Example: The person wants a lot of work done for no or low pay. No-pay and low-pay jobs are ok when a young writer is building up a portfolio, but there has to come a point when a writer stops taking no-pay and low-pay jobs.
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Geeze - ya wonder. There are lots of desperate folk out there that can be easily fooled (conned) but those taking meetings with networks, studios and production companies tend not to be in that crowd. He needs to fish in a different pond.
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I had someone tell me they wanted to show my screenplay to someone (that I hadn’t heard about). I said I would get something together for them. 30 hours later he told me “you were too slow, the producer told me he isn’t interested now”. I had a simple reply “tell him to get f**ked””. I don’t jump through hoops for free. I am not desperate for any deal this person could offer”.
These sorts of delusional, amateurs are like leaf litter.
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:D
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Because of a steady paid day job having my kids and my bank officials all smiling, I can venture into luxury of being stubborn as a mule when picking off gigs...and it's usual "I provide u stuff, u give me $$ or euros" and it's functioning, but's it's a bit*c& in a bunch kinda deal...most people want u provide them stuff for free and if ure lucky get referenced to some big player...
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The funniest (AKA most exasperating) one I encountered was when I was starting out as a comms writer. A startup wanted blog posts. Fine! Having already had some sketchy experiences, I shoot an email to make sure this is actually a paid gig. "Oh yes" they assure me.
I give them whatever they ask for, and they reply that they would love to have me write their blog. Pay? $5 – FIVE, no zeroes missing – per article. I kindly advised them to advertise this as an internship in future.
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The common issue I have with ppl advertising for "help wanted" is the goal is ridiculously high.
Very few folks post ads saying, "low budget movie similar to "Clerks, She's Gotta have it, Good Time." Instead it's always comps to studio hits like "LOTR, Star Wars, Harry Potter."
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Lots of "jam tomorrow" out there and it's scary how high up the system it goes.
One of the biggest issues in the break-in industry is it's full of people looking to get rich quick and famous while they do it. It's why so many of the scams that prey on aspiring screenwriters are so effective.
Some roles have it a lot worse though. Plenty of actors making huge compromises and physically travelling to places only to be let down over and over. Plenty of directors effectively paying to work in an effort to get films out the door.
The core issue is inequality. When only a tiny percentage of an industry are taking the lion's share of the profits, everyone else has to fight for scraps.
Respect for anyone grafting their way up from the bottom.
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Received an email only an hour ago. Doesn't specifically address me by name in the opening. Claims to love my work but doesn't reference any scripts. Talking about collaborating on multiple projects off the bat. Says they are a producer but provides no validation. References compensation in the terms of "value" to me rather than money.
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Wise words here, gentlemen. Thanks for sharing.
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Shit like that is why my first viewpoint into taking a gig, or listening to someone, is "where's the money coming from?"
If you just have an idea and vague plan to make money off this, you can fuck right off.
I view my time as an hourly rate; if I'm making zero, then I'd rather focus on my own stuff than work with someone who's looking for someone else to do the heavy lifting.
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CJ Walley RE: "The core issue is inequality. When only a tiny percentage of an industry are taking the lion's share of the profits, everyone else has to fight for scraps."
Is this why writer's profits are going down on spec sales, or am I off? I thought that around the year 2000, writer's averaged 5% of the total budget, but I'm seeing figures in the 2-3% range now.
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CJ: I got one last week from the so-called producer that was going to help me with financing. Deleted it. Thanks for checking in.
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These ridiculous "collaboration" offers are everywhere. If there's a project that interests me but I'm wary of the other's commitment/talent/expertise, I will give them the super-easy assignment of giving me a list of ten finished films that they think they'd like their film to be similar to. I ask one time. I don't remind them, don't prod or push them. If they can't do this simple task, I'm done with them.
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What's frustrating is, getting in with the right collaborators in a speculative way is a great way to start building a career. The first feature assignment I did had payment subject to funding but I knew there was a very good chance the producer could secure it with my help. I wrote something like three more scripts before we got a greenlight on the next film as co-producers. There is a lot of room to be entrepreneurial and it can mean getting experience in roles you'd never previously dreamed of. However, it can be very hard to separate the dreamers from the doers when it really matters.
At least the Craigslist stuff is easy to pick apart. It gets a lot harder as you progress.
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Sam Cochran the key issue is any producer within the indie scene is struggling to find a model that works. It's nothing like the 90's anymore. Many need better writing but cannot afford to speculate the costs of hiring a writer at a decent rate when it comes to assignments. Specs rarely sell now so it's not like it's worth optioning material either.
This all said, the vast majority of conversation with the break in screenwriting scene laser focuses on studio level deals and completely ignores the tiers out there when it comes to budgets and writer compensation. This only exasperates the issue when you have people believing a writer should get a minimum of ~$50K USD to pen a feature finding out they'll be lucky to run into a producer willing to pay five.
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CJ: Thanks for your thoughtful post.
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Since I started doing this in 2012, I've seen every scam and shady deal in the book. But this is all part of the learning experience. This year alone, I've received many shady inquiries, including:
1) A young producer wanted me to rewrite a professional thriller screenplay that scored a 70 at William Morris Endeavor. I looked up the coverage I received in 2015 from WME, where the script received a "consideration with reservation," but there was no numerical score in my detailed feedback report. Perhaps WME has changed its methodology? In any case, initially, the producer seemed bright and had a plan for shopping the script. However, my other reservation was that the producer wouldn't let me read the original script before signing a 10-page agreement for no financial remuneration. This would have put me on the hook for rewrites in perpetuity. This inquiry was a hard pass for me.
2) An indie producer wanted me to take his treatment, which was poorly written, and write a screenplay from it. Though his story idea was usable, his dialogue and plot points were weak, yet he wouldn't allow me any input to improve the work. So it was a hard pass. This producer sent me a response note and advised me how unprofessional I was to dare suggest any input on his concept. I told him how fortunate he must feel about learning that information before we make the mistake of working together—still, a hard pass.
3) A producer I didn't know sent me an email requesting a script and told me how he helps writers get financing to make films. Yet his two credits on IMDb were less than impressive. A polite pass.
4) I received an offer from an Inktip producer who wanted me to write a sample treatment and ten-page script sample to compete with ten other people for that privilege. This one was a pass.
5) a "literary agent" solicited me, and we had a video conference about signing with a well-known production/management company. This person was polished and presented well, but after numerous attempts to verify her association with the production company, I heard the sound of crickets (and they were in my yard). I recently checked the production company's FaceBook page, and they posted that someone is using their name to run a scam. What a surprise! However, I was disappointed at the Production Company's failure to return my two calls and emails to confirm this person's status. I had a similar situation with a fake person involving ICM, one of the big three agencies. They returned my call within 15 minutes and thanked me for alerting them about someone impersonating their client.
I've received emails from people claiming to be the late Alan Parker, Antoine Fuqua, Lee Daniels, Sandra Oh, and a few other celebrities. Who I quickly determined were all fake. For example, the phony Antoine Fuqua asked for a fee to submit a screenplay. All these fake solicitations were easy to ferret out.
With the advent of online technology, a world of opportunities exists for aspiring screenwriters. Unfortunately, there is also a community of predators looking for and finding easy marks that are willing to part with time and money to have a chance at making films. So I recommend perpetual caution and performing research and due diligence about anyone that contacts you about a writing gig.
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You've faced your share of scams/shady deals, Phillip E. Hardy, Prolifique. I've faced a few. Most of the ones I run into are "Write a feature script based on my idea for $____ (very low pay)." I've also seen ads where the producer/director/etc. wants the feature script written in 1-2 weeks. Thanks for sharing with us/warning us.
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The more of this that's shared the better. Too many writers thinking they suck because they see boasts from peers who think they've hit the big league and are actually totally getting played.
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I know you wrote "Double Threat" in 1-2 weeks, CJ Walley, but the ads I see where the producer/director/etc. want the feature script written in 1-2 weeks, it's like they think writing a feature script (outlining/development included) in 1-2 weeks is how it should always be done/the norm.
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CJ: Agreed! Spreading info to help others avoid scams is important.
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Maurice Vaughan, I wrote Double Threat in a few days.
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CJ:
Now That's what I call work and do a deadline. You're a wild man!
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Phillip E. Hardy, Prolifique, we'd been given a greenlight in Sept and were basically in pre-production with the intention to wrap principal by Dec. I had a fire under my ass and part ownership of the project. That motivates.
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CJ:
You sure did. But not everybody performs as well under pressure. The fact that you had tremendous writing experience under your belt was also a factor. Congratulations! And I wish you continuing success.
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Phillip E. Hardy, Prolifique, indeed, one of those times you're really thankful you have a process. Thanks. Film went to #4 on Amazon Prime so the writing couldn't have been too bad.
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Having part ownership of a project and a deadline definitely motivate, CJ Walley. I heard that Sylvester Stallone wrote "Rocky" in three days.