Screenwriting : Being in LA v. everywhere else by Kamala Lane

I have a friend who lives in DC. He is also a screenwriter and has even won and/or placed in a few screenwriting contests, and the man can't seem to progress forward with his writing career. Sadly, in this country there are only two cities you can be in if you have any goal of being a working screenwriter. LA or New York. That's it. New York is the center of independent film in this country. Los Angeles is Hollywood ('nuff said). You need to be able to get to a meeting when you have to. And unless you are an A-List writer, no one wants to Skype with you. I understand that up and moving is daunting, scary, difficult etc etc, but sadly, thems-the-breaks, kid. This goes the same in every other film mecca. You can't live in Liverpool if you want a career in British film. You HAVE to be in LONDON. Same goes with Sydney, Paris, Vancouver, etc etc.You have to live where the decision makers are, because, to be honest, they won't come to you... no matter how good your script is.

I'd love to create an opportunity and plan to move there, but I'm just not sure how things would be different. I picture myself continuing to write and query until I get a response while working a 9 to 5 - just like I am now. Would I absolutely have to get an assistant job?

You can sell a screenplay if you live in DC. sure, it's more difficult - the business is very social and those who make connections by living in working in L.A. have a better chance than those living and working elsewhere. But you can be a working screenwriter where ever you live. Getting an assistant job is a huge help. No, you don't "have to" get one - but being in the middle of development and production and meeting people and learning from established writers and producers can sure help you as a writer.

It's about the A list.

Yes, Rik is correct. You can sell a screenplay in DC, but it is extremely difficult. If a producer likes a script, they will want to meet you in the flesh. I have met many producers at their offices. They want to get a sense of you as a person. Do they like you? Can they work with you? Will you be a prima donna? Will you be a open to changes and ideas? Etc. Etc. This is where it gets dificult. Rik says, "But you can be a working screenwriter where ever you live." This is incorrect, if you are new. The director and producers will want to meet with you often to fine tune the script to their liking. They will not want to skype, if they don't have to. Odds are that after the initial office meeting (assuming it went splendidly), they'll want to meet at their favorite watering hole. "Hey David. I have some ideas on the car chase sequence. Let's meet for happy hour at the Pig 'n Whistle. Bring your computer." This is a common scenario. It is also better for you, in that, if changes need to be made, they will work with you. If you live far away, they may hire on another writer (which could easily happen anyway) to polish your work. Now, as for getting an assistant job, it has it's pros and cons. The biggest pro, is that you will be on the inside of a production comapny/ You will learn the who's who of the biz and how it works. the con, is that you are now an assistant and producers will think of you as that and not a writer. I'm not saying that's how it would be, but it could. I have a friend out here who went to school to be a screenwriter. She got a job as a D-Girl (Development Girl, a term for the women who work in development) and has been stuck in that position, with no chance of advancement (often the case with D-Girls) and hasn't written a lick... not that it would matter, becuase her boss isn't interested in her writing, just her POV on screenplays from other writers... It's a double edged sword.

There is so much more than the A list. There are thousands of writers you (we) have never heard of who make a living writing. Not A list, not even D or G list - but working writers. It's not always about the A list. David, perhaps my point isn't "incorrect". New writers can break in locally. There are producers in DC. There are producers in many cities and countries around the world. A new writer in DC can sell to a producer in DC or NYC (a mere 6 hours away) and take meetings. Your point seems to L.A. centered as to miss the global nature of the business. A new writer in DC sells a script to a local producer and attracts the attention of a producer in NYC. And sells a second script. Incorrect? Couldn't happen? Perhaps the meeting doesn't take place in Los Angeles at the Pig 'n Whistle but at Freddy's Backroom for a little informal (but important) meeting. That's an easy commute. Incorrect? Couldn't happen to a new writer?

Buy a copy if your library doesn't have a reference/checkout copy of The Hollywood Creative Directory. It used to be online. Their Facebook site, is 2010 - worthless too. The HCD may contain a way to find all the production companies in the DC area.

Thanks for the great responses to that A list thing. I knew it would draw out some great advice. ;)

I worked for a production company in LA, and one of the execs' told me that if he didn't see a 310 area code on the script, that script would go to the back of the pile.... Reasoning is they want a working face to face relationship, somebody they can call and they can be at the studio in 20-30 minutes for development. Not saying it's right, but that's the way a lot of hollywood thinks

Thank you, Malcolm. That's my point exactly. Yes, there are producers in DC who you can meet in DC. This is true. But for every working producer in DC, there are 1000 working producers in LA. Where do you think you should be? Hmm? Let's make it crystal clear. If you're Mark Boal or Robert Orci or Craig Mazin, you can live anywhere you want. If you're new and unproduced, you better live in LA, because producers will not bend over backwards for you, no matter how good your script is.

Thanks all! I was looking for a little color on the difference of making such a move. We'll see. I've always wanted to move to LA anyway since I've been on the east coast all my life. I'm hoping to get one of the TV writing fellowships which would be convenient, but difficult to get. Perhaps I should come up with a plan to move (and survive-yikes!) there within the next 2 years or so.

I have worked as a reader for producers who care more about the quality of the script than the area code of the writer. Many of them. But since your personal experience is that producers are more interested in the writers area code than in the script I can see where you're coming from. If I had seen that as the norm, I would feel the same as you do. Kamala, during the next two years you could write and connect to local producers. Couldn't hurt to have a local sale or two when you move to LA. A new writer can become a produced writer in DC or any city in the country. David says that's "incorrect" yet he mentions Mark Boal who did not begin his career as a writer by moving to Los Angeles. There are many ways to break in and to earn a living as a writer. I'm not saying David or Malcolm are incorrect, I'm saying there are more open doors than those two believe.

And rik and if you actually read my whole comment I did mention that I'm stating what was told to me by a top of the line production company. Never did I say that it is what I believe personally but it's widely accepted around town. Kamala asked for input, I spoke on my experience and never said that's the only way ....as they have been saying for along time in la la land "nobody knows anything" ;)

I know you spoke from your experience, Malcolm. I am speaking from my experience, just as you are and never said that's the only way. We both are speaking from our own experience. I respect that. I actually read your whole comment - you worked at a prodCo where an exec told you he will not even read a script unless it comes from specific area code. I have worked for producers and execs who care more about the content of the script than the writers area code. We both have different experiences - I understand why you feel the way you do about living in Los Angeles. If I had worked where you did, I would feel the way you feel.

I wouldn't want to work with a producer who deduces the value of a script according to its zip code. That kind of narrow-minded thinking doesn't mesh with my own. A person like that would only destroy the project. It ain't always about the money people or the quick sale!

I would like to make the most of things while I'm still in DC. I've made some cool connects mainly through film prod classes at the public access channel and screenwriting groups, which is what led to me being a scripty and meeting DPs, producers based in NYC and the DC area. So, I guess I'm crossing all the T's and dotting the I's. Sure would be nice to some day quit the journo job for good though ...

L.A. is like being a bee your whole life... Everyone looking at you funny...your a fool... and when you hit L.A. you found the hive. It would ne like being at a crap high school and going to Harvard.

Just got a reply in another post about a screenwriter's experience in trying to use the Black List. He got an inquiry from an agent or a prodco but passed when they learned he's not in LA.

It's good to be in LA but it won't help if your query letters and log lines are weak. Also you said you queried "some" prodcos. I wonder if you are targeting them properly for your type of works. As you know they specialize. Check out the Indie Producers Directory for production company info and more information: http://www.indieproducersdirectory.com

If you are having trouble or just looking to perfect your loglines and pitches -- you must read Christopher Lockhart's articles. They are posted for free on the front page of his web, called : www.twoadverbs.com

Thanks again. I am truly bookmarking/using the links and the morsels of wisdom you've given me.

http://www.youtube.com/watch?v=2F9wG0Xsg4k