Screenwriting : What do you say about this post by screenwriter Pete Bridges? by Phillip E. Hardy, Prolifique

Here are my two cents. I've placed and won at more than 250 contests and festivals because I enjoy competing. However, I don't hang my hat on contest wins. I mention it briefly in my bio, and it's like a garnish on a plate of food. I've been a screenwriter for eleven years, have written over fifty screenplays, had many near misses, worked in front of two "Big Six" studios, signed one agency deal, and many other notable industry people. Many of those opportunities came via one connection I made with a producer. Recently, I finally got a feature film produced https://www.imdb.com/title/tt19898834/ and have another two optioned scripts going into production later this year. Unless you're obsessed with generating the content, relentlessly pitching and marketing it, and staying in this game for the long haul, being a screenwriter probably isn't for you.

I agree there is a disconnect sometimes between what places in contests and what agents can sell (Example: If you win a contest with a big-budget script, it might be hard for an agent to sell the script). I also agree with what Pete said in the third paragraph about doing it yourself.

I don't agree with what he said in the last paragraph ("Nobody is reading. Nobody is buying."). I (and many other writers) have received many script requests lately, and I've read about writers selling scripts lately.

MV: I'm with you on the nobody is selling bit. I don't subscribe to that philosophy.

Producers, directors, production companies, etc. might be reading and buying less scripts, but scripts are definitely being read and scripts are definitely being bought. I just wanted to make that clear so writers don't think it's impossible.

The assumption that a winning script will go into production at some point is misguided. A winning script provides opportunities for the writer. Intros, meetings, representation, etc. That's why you should have more than one script ready to discuss. I'd think of a winning script as a calling card of sorts.

People do read and buy screenplays. However, it is rare to sell one today but it has always been that way. If anything there are more outlets to sell one than in the past. If they say they don’t accept unsolicited material they won’t no matter how good your screenplay is. They may make an exception if you won one of the major contests. If you want to send scripts to those people it helps to have a WGA Agent. If a script won a major contest it will help you get more reads and hopefully make connections that may help you launch your career. Connections are everything in this business so screenwriters should work at making them instead of just trying to sell their screenplays. At least that is my opinion.

Once again another great point.

Maurice: Thanks and I'm with you.

Ty: I'd think of a winning script as a calling card of sorts. Agreed. I'll take it a step further. Winning scripts or even ones that have placed well are marketing opportunities. Additionally, I often use spec screenplays as calling cards.

Dan G: Definitely! Because of advances in technology, there are more ways for screenwriters to get work to people.

William: Thanks!

You're welcome, Phillip E. Hardy, Prolifique.

Phil, deep down inside, I've...got to agree with Pete. (Still, it feels just as good to see a script advance in a contest as it does to see that script gain a producer's/director's/performer's eyeballs.)

Jim: I love competing in festivals and contests, but my end goal is making films.

Short answer is...it doesn't matter what anyone says. My goal is to enter 3 projects into the animation contest when it comes around in June. I do it because it's fun, gives me something to shoot for, I may learn something and it's part of engaging in the community. I don't pause, stop or run based on someone else's opinion and I don't plan my work around someone else's statement, successes or failures. Who knows what their motive is (especially with that last sentence)? No one knows who I will meet or where I will be in a week. Heck, I don't even know myself!

Lol white dudes complaining about the movie business? Try being a person of color wanting to work in American corporate show biz. I clearly remember working for one producer (you know his movies) he flat out told me he doesn't make movies with minority leads (unless it is Will Smith) or hire women directors.

The odds will always be stacked against screenwriters. Perhaps increase your odds and leverage by acting, producing, directing, editing. More jobs you can do, the harder to replace.

Leonardo: I agree. March to your drummer!

Dan M: I had a meeting a few weeks ago and suggested Asian and African American leads, and the industry type told me he wasn't interested in anyone he thinks can't sell tickets. When the rubber hits the road, many folks are full of doody.

The odds have never been in anyone's favor, yet many have defied them.

This is a particularly challenging time, as the biz is still resetting itself from Covid, and distribution models are still in disarray from the streamers, making it particularly difficult for indies. (The exception seems to be low budget horror, which has always been resilient) A looming strike isn't helping matters either. While I wouldn't use absolutes like "no one," I think the biz is moving a lot slower. The streamer buying boon is over, and films that were made for 15 million a decade ago must be made for 5 million today.

I agree with Pete when he suggests to ignore "no unsolicited material" warnings. The worst thing that can happen is a return email demanding you to stop. My advice is to never use the word QUERY in the subject line. Simply put the script's title in the subject line. At least the email stands a chance of being opened. Using the word QUERY in the subject line is an invitation for a quick delete.

As for Pete, he earns his living as a writer. He sold his first script to Steven Spielberg. So when the system breaks down, he feels it. He can't pay his mortgage. That's his motive with his Tweet. It's personal to him.

Christopher: good post. Thanks for sharing.

Dan MaxXx I resemble that accusation (lol). Also my I focus further afield with my ambitions.

I 100% agree. It is obvious really.

The world is constantly evolving. So is the film industry. Therefore this means change. Characteristics that survive are the characteristics that make that species successful (in this case the film industry). So things that are not as successful die.

But us, as writers, are following the same patterns and techniques that have been around for at least 30 years. The ways that people made a career 20 years ago, don’t work now.

Plus in the old days there was a hand full of contests winners, now there are hundreds. This lack of scarcity makes all wins less valuable. No one cares if you have won 30 contests, because there are 30 contests. Imagine if they gave out an Oscar each week, who would care?

As a former film festival winner - yeah he's right. Just because you win a film fest doesn't mean that anyone will bite. My own script may have gotten a win, but nary a bite from anyone. :( Sucks but he's right about that part at least.

The querying part is great if you live in a place with access to producers, but not everyone lives in Hollywood and while the digital age has certainly made things easier just because someone receives a DM doesn't mean that they have to answer. Granted, I haven't really tried to query anyone online in a few years but that has been my experience in the past.

There is a lot in that post to unpack. I just want to echo what Maurice and others have said around the idea of "Do it yourself". I think about the company Black Sands who had their content rejected from numerous companies (they make comics) and said screw it, we're doing it ourselves, and have garnered a lot of media attention and recognition.

And I would also disagree that things aren't being read or made. Through my school I was able to be on a Zoom call with the Director and Writer of American Murderer, and they basically said while the industry is competitive and it feels impossible, things are being created daily, and if what you want to see isn't being made, make it yourself.

Going after Independent film work is probably the best route.

I would love to be one of those people that just went the DIY route, however, the kind of money that needs to happen for a movie to have actual production value doesn't grow on trees. I was, just last year, able to pay someone for the animation (I have done animation myself before and recognize my limits and therefore hired it out this time.) I would need to complete this 4 minute trailer I had done back in 2015. It took me seven freakin' years for four minutes. While some people do their work for the love of the craft, I wouldn't expect anyone to do it in this economy.

I think he is correct about contests. In general, not likely to achieve much, but a nice garnish as Uncle Phil said. I enter them when I get a free entry coupon from ISA, otherwise only pursue for shorts. Shorts competitions are a little different, with many giving the winner a budget adequate to make the film, or close at least. For me, that is worth a small gamble.

As for cold-emailing producers, I am iffy. As a former publisher, I have been on the receiving end of queries, unsolicited manuscripts and random phone calls from wannabe authors. It gets old real fast and you do get jaded to the point that your starting position is highly skeptical, if not outright negative. In the end, we mostly published authors we knew or who were referred to us by people we knew.

Phillip E. Hardy, Prolifique mentioned further up that his greatest traction, in practical terms, came through one producer connection he made. I think that is often how it works, if not most of the time. You need to make meaningful connections to actual humans.

"Wanna something done, do it yourself"...I guess this applies to filmmaking as well...but, he's right bout one thing through....most people just wanna "atta boy" plaquettes...

That's encouraging to hear, Matthew.

You're right, Phillip E. Hardy, Prolifique ("Going after Independent film work is probably the best route"). That's been my plan, and it's working.

I sold a pilot last year that is being filmed so somebody is still buying screenplays. So just because he isn't having luck doesn't mean someone else won't..

Dan G: congrats!

MV: wise move.

Have to say, Pete B's spec script craps on screenwriting formatting rules :) and same manager/producer also reps Beck & Woods' A Quiet Place; the duo is famous for AQP screenplay attaching pictures to pages.

1

1a

Yup The ones who go outside the box and do it well, reap the rewards. :)

Dan M:

Thanks for posting.

Sounds about right.