I believe most of us are here because we want to become successful screenwriters. So...how do we do that? We all have different motivations and objectives, so I wanted to explore how we succeed. For me, I'm not looking for a lifetime job as a screenwriter...I'm too old. I do this because I love to write...wether that's a textbook chapter for Andrews' Textbook of Dermatology, or an article on Bormangiomas, I've always had this need, this compulsion to produce. I'm sure many of you are like me in some ways. So, for me I just want my screenplay to be made into a feature. I have three major features I have created, but I am particularly interested in Jingle Bell Rock, because I am invested in the material. I don't care how much money I would make on the option or the sale if it comes to that. I just want it produced, and produced well. To tell my story about these amazing kids.
So, I will tell you my approach and would love to hear comments from all of you creatives on what you agree with, what you don't agree with, and/or if you have any other recommendations for any of us to succeed. First, I believe you have to have eyes on your material. That means you have to invest in your work. For me money is really not an issue and I can afford to enter many screenplay competitions...some are good and some not so good, but I don't see how you can get around this. Stage32 has some really great competitions, as do other sites. I use Coverfly frequently to enter competitions and I almost always pay the extra to have my material reviewed. I honestly believe that this has really greatly improved my work, but some of you will believe this is somewhat of a scam to pay to get these reviews. Honestly, I have had some good reviews, where they get it...and I have had others that don't get it. You have to digest the responses and use those you find helpful and ignore, or reject the ones you disagree with. Screenwriting is so subjective...that's why you will get someone that hates what you wrote, and others that love it. You must not let it discourage you. It is just part of the process. If there are free reviews you can secure then I would do that, but I don't see how anyone can expect to succeed if your material isn't reviewed and critiqued. I have also paid for the one hour reviews on Stage32 from an industry professional that has produced similar feature films as mine. These are really fun, to talk to somebody about your work that works in the industry...and when they say good things, or bad things, about your work, I believe it is helpful. It has always been constructive...at least my sessions have all been that way. They aren't cheap, but you actually have a professional looking at your material. How much is that worth?
I have also had success with the Stage32 pitch sessions. I prefer the pitch decks. In fact, I have one producer that is currently shopping my script around because of my pitch deck. It is not that expensive, so from my point of view I believe it is worth the submission. Try to find reviewers that would be interested in your work...that is kind of obvious. Another thing I have been doing is submitting to writing gigs on ISA. I believe InkTip also sends out requests. They will regularly send out requests from producers looking for particular features. If you find a match you can easily submit your script, then you wait to find out if they are interested. The only cost is the fees to belong to ISA and InkTip. There is not a submission fee. I think that is a pretty good deal. The other site I use a lot is InkTip, where I have Jingle Bell Rock up for review and any producer that belongs can request your material. You will get a notice if somebody has reviewed your logline, so that is kind of cool. You are not supposed to directly contact them, but it is great to see these companies check you out. I have had two requests for my script on this site. I did not have much success from The Black List. Some of you may have had a better experience, but I dropped them after a year or so. I really enjoy the Stage32 site and it is kind of fun seeing and reading about other screenwriters experiences. I know this is long, but these have been my experiences. So, what are you doing that you have found successful? How do you prioritize spending? Do you have any recommendations for those with limited funds on how to make it work for them? I have had to put my screenplay promotions on hold since I have been shooting my short film over the past year. I have one more shoot to do then I'm back at it. I wish all of you much success.
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Congratulations on having success with the Pitch Sessions and the producer shopping your script around, Curt Samlaska!
I've mainly had success by networking on Stage 32. I've done Pitch Sessions on here (written pitches), and the notes helped me improve my pitches. I also did a Stage 32 Feature Script Read/30-minute Talk with Executive. It helped me improve my pitch and script.
I plan on doing another Read/30-minute Talk and more Pitch Sessions. I mainly spend money on these things, script feedback, education, Stage 32’s Writers' Room, and subscriptions like Microsoft Word and Canva Pro.
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Same boat and ideas as you, Curt. Ten years of GRINDING. Improving. Never stopping (for too long). And things are happening. It's cost money, but it's my money. And it would have been a tremendous regret for myself not pursuing this.
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Thank you Drongo for responding! I was hoping you would provide some input, because, based on your previous posts, I believe you are a successful screenwriter and have a lot of experience that I would love to hear about. I appreciate what you are saying about learning to write well, but I assume to many that is, or should be, a basic starting point. I'm probably wrong, but I would hope that everybody understands that to be successful one must be able to write well in your chosen format.
There are many books on how to write screenplays and novels. In these competitions I have been amazed at how format keeps coming up in the comments, which I consider incredibly trivial most of the time. There are various classes you can take on writing for people starting out. I had to learn the difference between a spec script and a production script, which when I started nobody wrote about. I had to learn it from people in the industry... I have written two novels, which is a bit different than screenplays, but it all was a wonderful journey for me. In all stages I relied on competent reviewers to help me focus on the story and not just the format.
I believe I have progressed to a competent, professional level...but it also still comes down to your material. Is it good? Is it average? Is it a compelling story? I don't know how you can teach that. I believe you either have it or you don't. I would love to hear from you how we can "learn to write." Do you have any specific recommendations on how to "hone this craft." I really appreciate your input.
“Reading furnishes the mind only with materials of knowledge; it is thinking that makes what we read ours.”
― John Locke
Drongo Bum...LOL... I get what you are saying. But, I don't think my formatting issues are that severe. I believe in your analogy you are referring to severe, gross deviations from what would be considered standard formats. In my case, using your analogy, it is like having different drivers. Like the cars themselves (all conforming to basic structure, but with subtle differences, like having a stick or automatic), the drivers are not all alike. I have screenplays praised as being perfectly formatted by one to another reviewer making some general comment about a format issue. Which is correct? Only their hairdresser knows for sure.
Once again, screenplay assessments are subjective as we all know. My screenplays have done very well in competitions. JBR has been in the top 1-2% on Coverfly for almost 2 years and I have been on the Red List (top 20) for family dramas for almost 2 years, so I am happy with how well my scripts have been perceived. I am still more interested in your comments on "learning to write well." Do you have any suggestions on how we can do that? I would really appreciate your advise.
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Dan, it was Scriptshark. I remember using that sites job postings. And back when "Swimming With The Sharks" came out I was an assistant to a producer. All the assistants would talk about the movie and their jobs.
Thank God.
I can sleep tonight knowing there's a superior white knight wielding a vengeful flaming sword to vanquish all those who would exploit we poor unaware writers.
Then to vanquish, resuscitate, vanquish again, resuscitate and vanquish again... What a self-interested bore.
Frothing at the mouth is not a good look. And no one asked for a half-assed advocate with an obvious and corrupt agenda to troll these pages in the guise of altruism.
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I really enjoy reading Dan MaxXx comments. He freely expresses a gritty look from a lifetime of being in and/or associated with the industry. So much appreciated. I must say, I was hoping to get more specific recommendations about what writers can do to improve their trade from Drongo Bum, also someone that has spent a lifetime in the industry. For those of us on the outside trying to get some attention, I see no way around having to utilize the tools we are provided to succeed.
The way I see it I have to have people within the industry read and evaluate my material. Most of the time this requires an investment, to enter competitions, to have script reviews, consultations, etc. Some of this may be predatory, but in my heart I have to believe that some of these people are legitimately looking for a good script. Something worthy of production. Many years ago I remember sending unsolicited scripts off to the pile. Actually, I did this with my first novel also. I had to pay for copy costs and of course mailing costs, then it went into the void never to be heard from again. But, even in those days, once in a while you would hear that a book was published from that pile, or a script was discovered.
So, in many ways I believe it is better today, because of all of these various competitions, reviews, etc., but I also believe it has encouraged more and more people to try. This results in a wide range of script quality, increasing the difficulty of discovering that gem that is floating out there. So, what do you do?
For me I can afford to pursue my quest and my financial situation allows me free rein. I feel bad for those of you that are not financially in the clear, and I was hoping this thread would help some of you prioritize your spending, by telling you what I have found to be worth the fees. This is all just my opinion and I haven't optioned or sold any script yet, but I have had script requests and have secured a producer that is shopping my work, so it is a start. I spent $35.00 to submit to a pitch deck session on Stage32. The producer I submitted it to requested the script and from there really wants to produce it. She gets it. I think of that as a win.
I haven't been too active on my script promotions lately because I am shooting my short film, which is just about done...hope to finish it this month. After that I will be submitting the final film to contests for about a year (that's the plan), so once I get there I will be back at working on my features again. Anybody else have any success on your scripts?
Dan MaxXx...if you ever come to Vegas let me know. I would love to take you out to dinner and hear some stories. I know you have a few...
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Nice post, Curt Samlaska I am not a fan of screenwriting competitions and many of the "submit your work to get read" black holes, which 90% of writers send in uncopywitten - and they love that, trust me. I agree Stage32 has some great opportunities for aspiring writers to get acquainted with folks who can potentially make a difference in their professional lives, but how often does that happen? Who knows... I think relationships are key, (duh, we all know that) but moving on that instead of writing about it or just acknowledging it is what has to happen. I am a firm believer more writers need to get out of the basement and learn how to interact with others - especially producers, directors and even actors who are on the up and up. One way to open these doors are to get jobs ON FILM SETS, anything - just to get in the sphere of the working filmmakers. Imagine sitting at home and emailing countless people to hopefully read your work - or - getting on a set and being a good worker, making connections and then perhaps a producer or someone above the line recognizes that and takes an interest in you. It happens, trust me. I encourage the young/non-produced writers to make themselves available and take a PA job, or something obtainable to get on set and start networking from that angle.
Also, if film festivals and competitions are your thing... look on FilmFreeway and find festivals in your area. Go to them (as long as they have some merit) and meet the people in attendance and rub elbows with the ones who have films in the competition - they're clearly doing something you're not - so there's the opportunity there as well. I cannot tell you how often and how wonderful it is to connect with someone at a market or festival that is there solely to meet people and have a plan, can carry on a conversation and show they're someone worth at least reading or investing some time into. I am a huge proponent of 'get out the house and circulate' - this delusion of grandeur so many writers have that someone with 'juice' will miraculously read your script is like trying to get lighting in a bottle. Yes, it can certainly happen, but what are your odds?
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Thanks Shane Stanley! Appreciate your input...I would love to hang out at a set and if I had the time I would do just that. I am still working though, seeing patients. It allows me to perform 40-50 times a day in the exam rooms...so much fun. I love what I do. I agree with you on connections. I am working my angles to get my script to Mark Wahlberg, he lives in Las Vegas now. I used to see him at the horse shows with my daughter in California and I have contacts in the equestrian industry that may be able to get me in front of him, so I agree. Gotta work every angle you can and hope for the best! I belong to FilmFreeway and have submitted to local competitions. Good idea to go to them when I can. Should have a bit more time now that my youngest is at Texas A&M and I'm not always at horse shows... I have a lot of hope on completing my short film and sending it out to the festivals. I am hoping that will get me some attention. Have you done any shorts? What is your experience?
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Curt Samlaska who doesn't love horses? (Norman Thayer, Jr. that's who) :)
I don't think I have done any shorts... I EP'd one once for one of our employees when she was still in film school.