Screenwriting : The 5 paths to Hollywood success. by Pat Alexander

Fantastic share, Pat Alexander! Audrey Knox always has helpful advice and insight! My path is #3. I didn't know about the different paths back when I was a new screenwriter. New screenwriters should know about the different paths and pick one or more. Experienced screenwriters should too. Picking a path(s) will save them time, money, and headaches.

6 years ago I really used to believe the “if nobody is picking up your script then it’s just not good enough” but that’s truly one of the biggest gaslights of all time that execs/managers/agents tell writers.

Now don’t get me wrong lol sometimes that is the case. But they treat it like it’s all encompassing. When a lot of the times they just don’t want to take on unknown writers.

Really interesting and worthwhile read! In terms of which path I'm on...I'm not sure I'm on a path rather than spinning on the spot (joking not joking ha ha) I'll now decide which path is best!

i add as alternative number 6. Write plays. First for amateaur theatres to learn. Then plays you sell. That will make it easier to convince people that your screenplay is worth reading.

actually, there seems to be 6 ways, as there are two #4s. i’m not sure having a famous relative could be deemed a choice.

Pat, The film and television industry is undeniably cutthroat, and you are right to point that out. I liken it to a marriage; there are moments of great respect, but there are also challenges. Some days, the love feels overwhelming, while on others, it can be incredibly difficult to bear. Yet, despite the ups and downs, one cherishes the good times along with the bad—the laughter and the tears. It is a genuine relationship with the formidable beast we call the film and television industry. For me, it is a commitment that feels like 'till death do us part.'

Not a bad list.

The trick is to flip it on its head. Look at each path and consider the odds of it failing or coming at a price.

Communities like this are full of people waiting for their Cinderella moment. Years pass by. Queries from studios go unanswered. They hang on the results of competition placements. They keep thinking the next script will be the magic one.

We had a great video posted the other week about the true cost, career-wise, of having a huge script sale, all from a writer who regretted it overall. Nobody watched it. They just jerked off over the money.

Lots of people say go make your own low-budget movie. That's a great way to both fail and end up in financial destitution.

As others have pointed out, path four is the realistic route. The one most likely to generate results and comes with little cost. It actually leads to all the other paths too, as it will lead to networking (the next best thing to nepotism), making actual films, and massively increase the odds that Goldilocks script is going to get noticed. It is however hard work and requires a lot of humility.

Nonsense article. There are two number 4s in a list of 5. Option 1 isn't actionable. Options 2 and 4A are only relevant if you're under 30. 4B calls for doing something just as difficult as making it as a writer in order to make it as a writer (sure, I'll get myself another lifetime at CostCo). For everyone else, there's 3 or 5. And then if you look at the content of Stage 32 and all its contemporaries, lo and behold, they're full of outstanding help in order to action 3 and 5. Thank goodness!

Always entertaining when CJ comments these kind of threads. Personally, I'm convinced a studio will show up soon that hands me a waiting number.