Today (Thursday) is the final day to send in a scene for Scene Showdown. Details are here!
You want to make it as a screenwriter.
You want to sell a script.
You want your script to be turned into a movie.
You want that movie to play in front of millions of people.
But you haven’t been able to fulfill that dream.
Why?
I don’t know.
But I guarantee you: You do.
Yes. The reason you haven’t gotten over the hump yet – you haven’t catapulted yourself into the arena of moviemaking – is 100% because of YOU.
It’s not because of nepotism. It’s not because of the color of your skin or your gender. It’s not because no one will read your script. It’s definitely not because they don’t understand your genius.
It’s you. You’re the problem.
But guess what?
That’s empowering. Because if you’re the problem, that means you possess the solution. You have control over fixing it.
Yet very few writers ever do fix it.
Because of that, they never achieve their dream. They never make it over the hump.
Why?
Because too many writers refuse to self-analyze and identify the REAL problem that’s holding them back. Only once you know what the problem is can you begin the process of fixing it.
Luckily, I’m here to tell you what your problem is. Or, at least, I’m here to provide you with the likely problem.
The sinister thing about “making it” is that we almost always self-sabotage. We get in our own way and prevent ourselves from achieving that which we so badly desire.
So, let’s go over the most common problems standing in the way of your success.
You’re Not Writing Enough
You say you’re a screenwriter. Yet you’re not writing enough. A screenwriter who’s really serious about success should be writing two screenplays a year with at least three drafts of each of those scripts. Or, writing one new script a year while putting the finishing touches on a screenplay from the previous year.
If you’re not doing that, the first question I’d ask you is, how serious are you!? Often, what screenwriters will do is keep fiddling away with one script without having any true destination for it.
This is a “Spinning Your Wheels” problem. You are often so afraid of being judged on the finished screenplay that you keep writing new drafts with no honest intention of ever completing the script. That way, you get to tell yourself you’re working AND you never have to get judged for that work. Perfect combination, right?
This is probably the hardest rock to climb out from under but the way out is clear. Start by setting times for yourself to write. I won’t force you into any time of day. You know what your schedule is like. But PICK. A. TIME. And, every day, write during that time.
From there, pick 2 screenplay contests you’re going to enter. Then, you must enter two scripts into those contests regardless of whether they’re “finished” or not. The idea for you is to get used to writing and get used to deadlines. Because if you can’t find consistency with those two basic things, you’ll never finish any scripts and you’ll never get anywhere.
You’re Not a Salesman
You’re quite good at keeping to a writing schedule. You DO finish your scripts. But then, once you finish, you have one or two people you send them to and if those people don’t flip out for how great your script is and tell you they’re sending it to Megan Ellison or Jason Blum, you tuck the script into a corner of your hard drive and never think about it again.
Your problem is that you do not understand the threshold that must be met in the selling phase of your screenplay. It’s not “Send the script to two people.” It’s not “Send the script to five people.” If you really want to have a chance at selling your script – I mean REALLY – you’ve got to send it to a ton of people.
10 at least. 20 is better. 30 would be awesome. 40 is a writer who’s serious. And 50 is someone who’s tried every avenue.
People say no in this town A LOT. They say no to writers with 20 credits. They’ll say no a lot more to writers with 0 credits. I just told you how Hollywood’s newest screenwriting crush, TJ Newman, was ignored by her first 40 inquiries until she got signed.
And if you’re wondering who to get your script to. ANYONE! Obviously, the closer they are to the business, the better. But contests count. People in the comments section count (well, maybe not Hep Athlete). Managers you cold e-mail count. I count. Every person who reads your script counts because that’s one more person who, if they like it, could push it up the ladder to someone else.
Be proud of your work. If you’ve put your heart and soul into a script, you deserve to have lots of people read it.
You Haven’t Done The Work
This issue pops up with two types of writers. The overeager writer writing his first, second, or third script, and the longtime writer who either never gets feedback or is unable to process feedback and improve the weak parts of his writing.
Each writer is dealing with opposing issues. The new writer doesn’t know what he doesn’t know yet. Every time they’re writing a page, they’re learning new things about the craft. So they can’t be blamed for not knowing why their scripts aren’t resonating.
The way to solve this problem is to assume there is a lot you do not know and to consider yourself an ongoing student of the craft. You are a work in progress and are okay with that. It does not mean you can’t get the attention of a major player with your third script or that you shouldn’t try. But you probably won’t and you shouldn’t get butt hurt if that’s the case. Thank them for their time and assume it’s because there is still more to learn. Get as much feedback as you can and keep getting better. Generally speaking, it isn’t until the 5th or 6th script that a screenwriter starts cooking with gas.
The longtime writer who is not getting better is a tougher fix. This issue often stems from stubbornness but can also be related to the fear that, if you admit to yourself that your writing approach is wrong, it means you have to “start over.” The idea of that is so terrifying that you’d rather stick to the path you’re on and keep charging forward with it. It’s the sunk cost fallacy.
These writers need to ask for more feedback and, when they get it, they need to process it. Particularly the specific feedback they hear multiple times. Once you know where your weakness is, you can create a little Google Search inspired lesson plan on how to fix it.
Common problems I see are boring characters, writing that lacks clarity, uninspired creative choices, plots that move too slowly, second acts that meander. Probably the biggest one is untested concepts that weren’t strong enough to build a screenplay around in the first place.
I remember a writer who kept getting the note that his scripts lacked conflict so what did he do? He came up with a concept that would automatically inject conflict into every single scene. It ended up being his best script!
There are tons of articles about all of these things on the internet. Just remember: Because there is no screenwriting college (for most of us), it’s up to you to create your own lesson plans.
Finally, be aware of how time stifles enthusiasm. That can be the biggest enemy of all. Of course you don’t have the same drive as you did when you first started and thought this was easy.
But guess what? You are a MUCH BETTER WRITER than when you first started. You’re probably better than the bottom 25% of working writers out there. Possibly even better than that.
Don’t let your diminished enthusiasm prevent that skillset from being seen by the world. Internalize that you’re better than you think you are. Cause I can promise 95% of writers on here that that’s the case. And then call on that younger version of yourself to provide any enthusiasm reserves they can offer to get your stuff out there.
Because, in the end, it all comes down to being seen.
A script cannot become a movie unless it is seen.
Your job then is, simply, to make sure people see it.
All that means is putting some effort into getting it in front of people.
You do that?
Your life may change.
