Are studios open on Saturdays?
When trying to sell a screenplay, does it have to be accompanied by a logline and/or a synopsis? Or will just handing someone a script suffice?
And I would also like to know the general work hours of movie studios. I want to maybe personally hand my work to someone at a studio since I am uncertain of whether or not they read unsolicited work; however, I have a very unflexible work schedule, and I usually get off late. Are studios open on Saturdays?
– Evelyn
New York City
These are the kinds of questions that reflect almost no understanding of the film industry — which is fine. You’re brand new to all of this, obviously. I would ask similarly uninformed questions about lawn bowling, textile manufacture or warp drives: using the lingo without really understanding what it meant.
So I want to answer your questions while simultaneously explaining why they’re awkwardly wrong questions to ask.
Written loglines and synopses aren’t included with a script, unless you’re submitting it for some competition that requires it. A screenwriter needs to be able to distill the premise and story of her script mostly so she can pitch it: “It’s a road-trip comedy about a transgendered rabbit and a zombie turtle.”
“Just handing someone a script” is doom. No one wants to read your script. No one. If you doubt me, reverse the roles. A stranger comes up to you and thrusts a 120-page document in your hands, along with a promise-slash-threat that they will call and ask you what you thought. Unless you had reason to believe that the script or the writer was genuinely worth your time — or that saying no would have a significant social cost — you’d find a way to get out of it.
When screenwriters move to Los Angeles, the first year is spent finding people willing to read their scripts, generally for an even exchange: I’ll read yours if you’ll read mine.
The Saturday issue
Movie studios aren’t what you think they are. They don’t have a front desk where scripts come in. They have fairly typical Monday-Friday schedules, but that’s irrelevant.
Producers, managers, agents and filmmakers bring projects to specific executives at the studio. Paula Producer may have good relationships with three executives at Imaginary Pictures, but for this nautical action drama, she picks the guy who sails.
Getting a movie made, and getting a script set up, relies on knowing the people involved. That’s why just landing your script somewhere physically within the halls of a studio isn’t worth much. Studios have readers — I used to be one — but they’re largely there to help executives by writing coverage and reading the least-promising material that comes in.
There’s far too much mythology about “what studio readers are looking for.” Generally, they’re looking for an exit. They have very little influence on which scripts get purchased or made.
Evelyn, your goal as an aspiring writer should be to convince producers, managers, agents and filmmakers that you’re a great writer with great material. You do this by getting read; you get read by making relationships in the industry. That’s also where you’ll pick up a better understanding of How It All Works.
Articles
August 20th, 2009 at 11:04 am
“It’s a road-trip comedy about a transgendered rabbit and a zombie turtle.”
Damn you, John! I was just about to register that one.
Sigh. Not that it matters at this point, but I see Tom Cruise as the rabbit.
August 20th, 2009 at 11:22 am
Evelyn, if working in the business is not an option, there are so many great books on how Hollywood works.
August 20th, 2009 at 11:23 am
oops, I should add I meant working as an assistant while you work on your scripts.
August 20th, 2009 at 12:06 pm
John,
I’m sorry to say this, but you’re being far too mean these days. All your latest postings have had an uncharacteristic bile, and it’s a bit disconcerting. Granted, some of it was provoked by the anger/resentment of others, but you have a more potent mean streak now than in the entire time I’ve been reading you.
You tore apart that guy who wanted to use footnotes in his script. Tore apart artists and their writers block. Called this inexperienced woman awkward and probably demolished her courage…
…now, yes, some of these questions reflect a less-than-professional knowledge of the industry, but for so long you managed to be so delicate with your explanations while at the same time telling it like it was.
Please find the nice guy screenwriter again :(
August 20th, 2009 at 12:49 pm
@Tom — I completely disagree. That was an extremely amateurish question to ask. One even wonders about the quality of that person’s script… An addendum: Worry about writing for a few years and producing quality, then concern yourself with Studio’s regular business hours.
August 20th, 2009 at 1:02 pm
John is hardly being mean, Tom. His answer is well thought out.
Take a trip over to the artful writer forums for a real dose of writers “hating on” each other. Then, come back and decide who is a nice guy. Sheesh.
August 20th, 2009 at 1:17 pm
What else do you say? You’ve got a lot to learn? Evelyn, you’ve got a lot to learn.
But that’s okay. You can learn it. And here, you just did. And by talking to people, reading, and making mistakes, you can learn a lot more.
There are a lot more people trying to be screenwriters than (actively) trying to be astronauts, but let’s say for argument’s sake that, percentage-wise, your odds of succeeding once seriously starting out are about the same.
It’s completely wrong to ask, for instance, if NASA’s head office is open on Saturday because when you deliver your resume you want to make sure it gets into a living person’s hands. And it’s not just that there’s nothing right about asking that; it’s that the degree of misunderstanding how things work implicit in asking it requires a sharp, head-to-toe correction. And it’s much more helpful to point that out at the outset — that is, that you really need to throw away your entire body of misunderstanding — while also providing accurate information than it is to simply and politely not say it.
If Evelyn really, really wants to be a screenwriter, by the way, she is either going to have or need to develop much tougher skin than you give her credit for. Rejection (if you even get that far) is rarely so kind as John is, even here.
But to Evelyn, sincerely: Good luck. And good luck to everyone else trying, too.
August 20th, 2009 at 1:41 pm
I would argue that John is being pretty damn nice, by saving poor Evelyn the embarrassment of popping into MGM on Saturday and trying to hand someone her script.
August 20th, 2009 at 1:52 pm
I’m in a predicament similar to Evelyn’s – unknown screenwriter peddling spec screenplay. Yet I totally understand John’s response and would offer similar feedback. Could Evelyn have attempted to call the studios on a Saturday rather than rely on John?
My advice to Evelyn – do your due diligence first, be resourceful, and then get creative. Scour every blog, website, trade pub and book addressing screenwriting and the movie biz. Learn the Hollywood protocol concerning submitting scripts. Then read how successful screenwriters became produced. The info is both relevant and irrelevant to you and your project.
It is your responsibility to make you and your work convenient and inviting to those who can help you reach your goal. How serious are you about screenwriting? Who in Hollywood – or any major industry – has shown a passion for your subject matter? How can you get your story in front of them. Yes, there are appropriate manners of doing so, but that still leaves a wide berth for creative approaches. C’mon, you’re a writer Evelyn, think of way to break the rules without breaking the rules. From what I have seen and heard, this industry loves to talk about rules and expectations, but really likes those who break the mold.
After spending two+ years researching and writing my spec screenplay, getting some industry feedback/coverage, and making what seemed like nearly endless revisions, I feel my screenplay is ready to face the fire. I do not live or work in LA. I have never worked in the film industry. Yet two weeks ago, I emailed my screenplay to a major producer (he agreed to read it before I sent it). But I’m not sitting around. I have identified a prominent fashion mogul who shares a passion for my screenplay’s subject matter and main characters (it’s a historical biopic/period drama). I sent him a query letter of sorts, introducing my script, commenting on our shared passion, etc. But I sent it along with an authentic, limited edition, vintage poster from the era and of the topic. Will he request my script? Does he give a shit about movies? Will it even get to him? I don’t know. But I need passionate people who can help me make my screenplay become a movie. Sure, the poster wasn’t cheap, but it shows my commitment to my screenplay and a thoughtfulness concerning his interests. It’s worth a shot if you ask me.
So, Evelyn, is there an tennis star that shares your passion? Is there a wealthy insurance or bank exec. who really wants to be a Hollywood producer? A doctor or coach who’s circle of influence overlaps with someone in the industry? Who knows what they could do for your screenplay? A little money or some simple connections may be all you need to get some momentum going. Just remember to be cordial, but also be unique and memorable. It may end up they don’t like your screenplay, but don’t give them any reason not to like you as an individual.
John is a great resource, but let’s reserve his feedback for the stuff we can’t figure out with a little effort (mind and body) of our own.
As disappointing and demeaning as the process can be, it is your responsibility to make you and your writing inviting and easily accessible.
August 20th, 2009 at 2:07 pm
John was not being mean here at all. He was telling the person that they’re asking the wrong question and then explaining both why it’s the wrong question and how to go about achieving the goal the reader wanted to achieve.
Tone can be tough to read in blog posts etc, but I think maybe you’re projecting an attitude onto the text that wasnt’ intended by the author.
August 20th, 2009 at 2:09 pm
“I really like baseball and want to play. If I’m only able to show up at Fenway 10-15 minutes before the game starts, will I still be able to pick whether I’d like to play on the Red Sox or the Yankees that day?”
Try calling a professional sports team with that question and judge whether the response you get is harsher than the response Evelyn got from John.
August 20th, 2009 at 2:17 pm
@Tom:
I guess we just see it differently. To me, John gave the most honest answer he could without being insulting. Aspiring screenwriters need to be told the hard truths; otherwise they end up laboring under unrealistic and even harmful delusions that will come back to bite them in the future.
That last bit certainly applies to me; even though I did my best to seek out every possible tidbit of information about writing and the industry in general, there are plenty of things I’ve only discovered recently that would have been helpful to me in the earlier stages. But back then, of course, there weren’t any successful screenwriters with helpful websites that would answer questions for newbies. Even now there are precious few, and Evelyn is lucky that John took the time to craft a very complete answer to her question.
August 20th, 2009 at 2:19 pm
@cybermoniker:
The way things are going these days, under those circumstances you might actually get a chance to play on the Red Sox.
August 20th, 2009 at 2:27 pm
As an inexperienced (and probably awkward) newcomer to screenwriting, I didn’t find John’s answer insulting or mean. Actually, I found it honest and real. I’ve always been the type of person who would rather be told when I’m doing something wrong and how to do it right then wander aimlessly until I figure it out on my own. That’s one of the reasons I enjoy reading this site so much, because John gives a glimpse of the real business and how to navigate it.
Keep it up John
August 20th, 2009 at 2:46 pm
@Tom
Patience is a virtue, indulgence is a sin.
August 20th, 2009 at 3:11 pm
“It’s a road-trip comedy about a transgendered rabbit and a zombie turtle.”
Too late. Done. It’s an Australian movie.
August 20th, 2009 at 3:12 pm
So much ass kissing…
August 20th, 2009 at 3:13 pm
@Jonathan — I can’t help but to think you’ve just sent the OP on a wild and ridiculous goose chase to find people that have no interest or contacts in the industry (fashion guy or whoever), thrust her script at them, and make a complete fool of herself. Stuff like that only sounds good in theory. There’s not more of a chance to get something read/produced by giving it to someone outside of Hollywood, there’s less chance.
I’m a writer (have had one book publsihed) and people ask me to read their unpublishable crap all the time. I’m not an agent, editor, nor do I own a publishing house. I can’t even get a second book published, and yet they think all I have to do is snap my fingers and somehow I can get THEM published.
While its great you have a producer (and it is, good luck, no joke) to read your stuff, you might want to start writing another script, pronto. Often the response to a script can be, “This is great writing, but I can’t do it for X, Y, or Z reason, what ELSE do you have?”
August 20th, 2009 at 3:17 pm
I would sure like to see this road-trip comedy. I personally think Matt Damon could play a mean zombie turtle…
August 20th, 2009 at 3:27 pm
@Tom I don’t think john was being even the slightest bit mean. you were way off base.
August 20th, 2009 at 4:13 pm
How much hand holding do you guys need? John is a working screenwriter. He doesn’t have to make this blog. But he does and there’s tons of good info in it. If you don’t like how he delivers that info, don’t read it.
As for this woman’s question, I would’ve said it’s a stupid question. Do your research. You can walk into a book store and pick up any book on screenwriting and you can probably find the answers to this question on the back cover.
In fact, I find it insulting as someone who’s trying to advance in this profession, that there are schmucks like this who can’t even take the time to learn something on their own. They’d rather just send an email and have someone else find the answer for them.
That’s how I would’ve answered anyway. So I think John’s response was pretty measured.
August 20th, 2009 at 5:40 pm
And here I was going to post to encourage John for bending over backwards in being kind and gentle in his answer. And I’m still going to (sorry,Tom, but John’s response to Evelyn is extraordinarily kind):
John, thank you for being so kind and gentle in your answer. And thank you for not giving out faulty advice in the name of (false) encouragement.
Being a writer whose day job is at a studio, I have to say that you are dead on with your advice: blind submission to a studio without an advocate on the inside is a waste of paper, time and hope.
August 20th, 2009 at 6:12 pm
John;
I think you’re selling yourself short. I bet your questions about lawn bowling, textile manufacture or warp drives wouldn’t be as naive.
August 20th, 2009 at 7:03 pm
And if Tom thinks that any of what John said in the past is “tearing [someone] apart,” he’s in for a world of hurt if he actual ever gets honest feedback on his work (my guess is they usually get a nice, gentle “pass,” which in the long run can be less useful).
John is damn kind and patient as evidenced by the fact he answers questions like this at all, and since Evelyn has no more than her name revealed, she’s much less embarrassed by the answer than, say, walking into WB with a script and saying “where do I drop this and my logline?”
August 20th, 2009 at 7:56 pm
Anyone suspect that Evelyn’s questions wasn’t on the up and up?
Like maybe one of the staff writers from The Onion got bored and sent John a question.
August 20th, 2009 at 8:15 pm
While I hesitate to get into a pissing match in a thread of comments, I also feel the need to clarify my post to Anon. Dear Anon . . .
I too write for a living – freelance marketing and business communications. The key to choosing who Evelyn should approach is the same as in marketing – it’s all about the target audience – and if you have something relevant to their existence. Hell, her target audience may be less than five people. It may be 1000.
You’ll notice I never said her chances would be greater, rather, I suggested she look for opportunities to potentially skirt the traditional broadcast query and rejection routes. That’s what unknowns with specs do . . . create their own opportunities by a using non-traditional methods. That’s what passionate and driven people do in all aspects of life.
You may be surprised how many people outside of the industry have friends, relatives or neighbors with connections inside the movie biz. Every industry relies on referrals and friends of friends. Plus, successful people like to hang out with other successful people, so spheres often overlap.
As for my getting my screenplay in front of someone – well, a good friend (an independent insurance broker of all people) has a friend who has worked with the producer. My friend thinks I’m a pretty good guy who is serious about his project, and was willing to vouch for me. It’s a pretty classic example of any business referral.
As for your advice to me, how many times do you think I came across the same words during due diligence? Have you written a screenplay?
I’m sorry you’re having a tough time getting another book published. How was your first book received – how did it perform? There seem to be quite a few options for getting books published or making it available to the target audience – look at John’s short story. Hey, I know a number of people at The Meredith Corporation (www.meredith.com).
August 20th, 2009 at 8:33 pm
Guys, wow, let’s take it easy on both Evelyn and the guy who said John was too mean.
Was it a dumb question? Kinda. Was John too mean? Not really. But on the other hand, you’re seeming to forget that Evelyn wasn’t forcing John to publish it. You’re all behaving like her e-mail was some kind of massive imposition. John gets dumb questions e-mailed to him every single day. He chose to post this one, respond to it, and make an example out of her question specifically.
And what’s with all the “why doesn’t she go find out herself” responses? That’s exactly what she’s doing.
August 20th, 2009 at 8:52 pm
I say let Evelyn walk onto a studio lot on Saturday and peddle her script around. Her approach might be so outside the norm that it might actually work. Stranger things have happened in this business. As William Goldman said, “Nobody knows anything.” Here’s a tip for getting on any studio lot. Find the name of someone, anyone working at the studio. Bring a clipboard and a manilla envelope stuffed with paper and say you’re a messenger delivering a package to that person.
August 20th, 2009 at 9:11 pm
@batutta:
Good idea. But it’s been done. (And by the sounds of it you’d probably be surprised at just how many times.)
August 20th, 2009 at 9:20 pm
Thank God Evelyn asked John because, honestly, it’s not that easy to get accurate information. There are people out there making a living peddling complete BS about how hollywood works and people believe them (If I go to another WGA discussion and hear another writer ask about sending in a query letter I’m going to scream, and yet, there are books on how to write a query letter as if that were how it works). So, good for Evelyn for asking an actual person that knows rather than listening to all the books, websites, etc. that claim to.
Now, Evelyn, you’re in New York, which is where I was when I started out. You can make valid film industry contacts there. If you can get a producer, entertainment lawyer or anyone to read you and decide you can write, ask them for an agent referral, because what you need is an agent. Long story very short, my first contact was an extras casting director. Seems totally random except that she knew a producer or ten (of course), and she gave my first script to a producer who called to meet about the script because he wanted to make it. Did he? No, he wasn’t in a position to (at that time he was a line producer), but fast forward a bit and he was a big P Producer and he ended up referring me to my first agent. So, go forth and make some contacts. Nothing in this business happens without them.
August 20th, 2009 at 11:50 pm
Is all publicity good in terms of selling your screenplay? I’d like to believe so, but sometimes working toward getting it read by the three or four people right for your script can be much more valuable then blindly sending it out to every studio in town. At least, that’s my feeling about the matter.
August 21st, 2009 at 12:20 am
@Evelyn
Hi! – I actually have a spare basket of nice here. I haven’t been using it, so its all yours. – In fact, I’m gonna get right in the boat with you.
5 years ago, I asked the studios what their hours were… ALL of them. – Oh yes… I did. – And I didn’t stop there either. Oh, no. I went on my own little no-holds-bard terror streak, asking who it was that wanted my thingy, and what kind of courier services they used, and when I could get back to them and the whole little terrorist caboodle. – Picture Taz with an Epson printer and an HC Directory. Right? :P And THAT was before I even began to realize that their time cards were pretty much transparently irrelevant, and the weight of what the term “Industry Hours” even means.
Full on, threatened to call… everybody.
Allow me a horror story, and you’ll see why being me was (surprised gasp) NOT, the path of least resistance.
See I had yet to discover the unfathomable miracle that is Maziar at scriptcopier.com. So between you, me, and my hole punch, it was costing me upwards of $20 & 40 minutes apiece to print and cover my screenplays, and I was sending them out, get this… wrapped around bottles of Coppola, in custom containers, with superhero insignias embossed on their black heavyweight script-covers, and… WAIT FOR IT… MY BIO! <– Most of that, I don’t regret, since my understanding is that, in a world where most wannabes can’t get a single response- I got notes from almost all of them. Most notably from one major agent, (who shall remain nameless) who, true to his popular character reputation, opened the package, took out the bottle of wine, and then sent me the script back with a note reading only: Fuck you.
Sure I handed them to strangers in person! And it eventually got me the greatest rejection letter ever, which, still framed on my wall, describes my work as, and I quote, “A dispiriting version of Judge Dredd, in which several pages are spent describing curtains”.
Years later, after doing the work, (reading the slush) I’ve come to see Readers as warriors… Agents as someone I may or may not choose to employ (as opposed to magical pixies). And after getting to know some producers who say, “Great. Can I read it?” I’m now comfortable saying, “Not till its perfect.” with the knowledge that that was the right decision.
So really… my diary thinks I have your naivety beat, TIMES 4. But, point of fact… a director just emailed me to write on an already-profitable-franchise while I was writing this to you. – Its a small world after all.
August 21st, 2009 at 3:24 am
Just joining the “that’s the harsh answers wannabewriters need to hear” group
Oh and please (re)read this column every time you forget what s.. you put urself into when you decided to become a scriptwriter
http://www.wordplayer.com/columns/wp34.Throw.in.the.Towel.html
August 21st, 2009 at 3:27 am
@Tom (you’re popular today, huh) I agree Mr August has been quite patronizing lately, and some of his statements were outright hurtful and inconsiderate. But actually, after reading this particular entry, I mentally gave him credit for becoming (or going back to) being nice to people. Even I, who knows nothing about the film industry, sensed the questions were coming from a person who probably knows even less about the film industry than I do. And it’s hard to break it down to someone that they just asked a question that made you roll your eyes. Even though there are no stupid questions, and Miss Evelyn did exactly the right thing by asking someone who knows the answer, I could see how a lot of people would give a much much meaner reply. That said, if I were a screenwriter with a question, I don’t think I’d have the guts to ask Mr August a question, because I’m a coward and can’t take criticism, and I’d be scared that he’d say something that would make me curl into a ball and cry. Because while he can be nice and helpful, he can also rip people apart.
August 21st, 2009 at 3:50 am
I’ve gotten rejections before, and they’re usually brief but never mean. People seem to harbor these fantasies that all Hollywood players are Kevin Spacey in SWIMMING WITH SHARKS or Saul Rubinek in TRUE ROMANCE, but the truth is that it’s just a simple “no thanks” (or less) most of the time for unproduced writers.
Is Eli Roth’s character in INGLORIOUS BASTARDS related to Saul Rubinek in TRUE ROMANCE, because they have the same last name?
August 21st, 2009 at 6:46 am
@Jonathan–
Great. Offer whatever advice you want and more power to you. I wasn’t picking on you necessarily, you’d know it if I was. But I think if you step back and consider the OP — who is such a newbie that she is asking about “office hours” — telling her to “find a famous tennis player” because “maybe you have the same interests” is kind of sucky advice, for her. At this point.
At the level of knowledge I’m guessing Evelyn is at, right now, much better advice would be to maybe get some feedback on her script. See if it is readable, original, or even formatted correctly. All the contacts in the world — fashion designers, producers, or others — aren’t going to help her if her work isn’t up to par.
I only commented on your comment to begin with because you stated rather proudly that you had been working on your script for two years. It sounded like you didn’t have another script, but only this one. For two years. Maybe that is the case, maybe it is not. Either way it’s none of my business — I just recall a previous post of this blog stating you need to be able to write a script in two, maybe three months, if you want to be able to work at the studio level. Because of your “two years” statement, it made me question your advice to Evelyn even more, though by all accounts, you are correct: Relationships are the backbone of getting known and getting work.
Thank you for your concern with my writing. I’ve gotten high up in the Nicholls Fellowship several times with my scripts, so, yes, I write screenplays as well. They might even be good. One can hope.
I’ll be sure to give my book agent the info about Meridith Co, at which point he will laugh his ass off.
When I said good luck to you, though, in all seriousness, I truly did mean it. I think writing of any kind is a noble pursuit, and I like to hear success stories. Synthian’s is a stunner. Good luck and Godspeed.
August 21st, 2009 at 12:10 pm
Synthian–Thank you for making my day! Sometimes I get lost in why I’m trying to do what I love (write) in the midst of doing what I must (make a living/rear two daughters by myself). Your story was priceless. Made me want to drink an extra cup of courage and keep the fingers tapping.
August 21st, 2009 at 12:30 pm
“… a director just emailed me to write on an already-profitable-franchise while I was writing this to you.”
Good on ya, Synthian!
And to stay OT, I thought John was pretty kind this time around. Though I can see myself having asked similar Q’s onceuponnatime.
August 21st, 2009 at 12:39 pm
I appreciate your response Anon, and yes, without knowing a bit more about Evelyn, her screenplay and her goals, my advice may me worthless at this point. You and I know that similar interests won’t cut it – there must be shared passion and indisputable proof that it is genuine. And the work must be up to par.
By sharing my timeline, I was hoping to show that some newbies are actually taking a thorough and proactive approach, not simply rushing to pump something out. Honestly, I am proud – I’ve stuck with it, with no one but myself offering motivation. I’ve gotten feedback, taken it seriously and continued writing (while giving the other facets of my life the attention they deserve as well). To hell if I’m going to let all of that effort and energy go to waste. I have received enough positive feedback to know that I must complete the same due diligence process in regard to marketing my script (and me), or my screenwriting can only remain a hobby.
My screenplay happens to be a historical biopic/period drama, and required tons of research, validation of facts and, obviously, the endless revisions/rewrites that we’ve all heard about. That’s why it took two years. Just making sure it’s a good as it can be before “thrusting” it on anyone!!
As for having more than one example to show, I have taken that advice seriously. And fortunately my other projects have not required nearly the time (though comparable effort) to develop.
If your agent laughs his ass off, I don’t know what to say. Maybe he knows your material doesn’t fit Meredith’s audiences. Or is he laughing at your book? Maybe you need a new agent? Or bypass him – Meredith’s CEO lives a few doors down from my folks and is a fellow board member of a non-profit with my father. If your book doesn’t suit him, chances are he knows someone it may.
Yes, the Nicholl Fellowship, I have heard success in the competition does open doors. I hope it has for you. Your writing abilities must be fairly strong if you have performed well. I would prefer a sale to a fellowship. But I have neither at this point.
I also prefer to have discussions with people who have something to say and know when to say it – even if disagreements remain. I don’t get the opportunity to interact with many other writers, and despite being a bit uncomfortable and regretful with making some of the comments above, I believe the more information you have, the better, – and that making your thoughts public forces you to put them in tangible, understandable (hopefully) form.
I appreciate the well wishes – and the best to you too. Keep writing.
August 21st, 2009 at 1:19 pm
So there are productive ways of making an ass of yourself and non-productive ways of making an ass of yourself, the productive variety being the ones that at least appear to be intentional. Who doesn’t love an idiot with conviction? (I guess that’s why my mother told me to act like I know what I’m doing even when I don’t.) John, as always you are an island of rationality and restraint. I’d like to give you a big fat hug right now but I have to go self-flagellate.
August 21st, 2009 at 1:24 pm
@Faith:
“That said, if I were a screenwriter with a question, I don’t think I’d have the guts to ask Mr August a question, because I’m a coward and can’t take criticism, and I’d be scared that he’d say something that would make me curl into a ball and cry.”
Well, good thing you’re not trying to be a screenwriter, then.
August 21st, 2009 at 1:25 pm
@Synthian, still the coolest name ever. Thank you so much for the amazing story.
“A dispiriting version of Judge Dredd, in which several pages are spent describing curtains” – Who WOULDN’T want to read that?! As I’m actually reading Infinite Jest right now, this one sentence makes me want to read the entire screenplay, and yes, I’m entirely serious.
You know what’s awesome? THIS. This ability to actually learn these things so easily and then debate the same things just as easily. The internet is a great and terrible thing, much like the One Ring. Think about it.
Taking the risk to look stupid takes a lot more courage than always wondering what if, am I right?
August 21st, 2009 at 2:10 pm
As someone who has written exactly one script in way too long a time period, through my experiences and failings, I would suggest focusing solely on the CONTENT until there is enough of it to worry about the proper channels of getting something read.
I spent way too much time reading into the details of screenwriting, making sure every word was properly formatted, capitalized/not capitalized, avoiding this, doing that, etc. Then, after picking up any script of a completed movie, I realized each writer doesn’t just have his/her own style, but his/her own way of formatting, screenwriting books be damned.
My point? Don’t let minutiae get in the way of a good story or solid writing, and if it’s something that doesn’t directly advance the story, the characters, or your writing, then it’s minutiae! Business hours of a studio? Double minutiae!
Good luck, Evelyn. If your writing is great, people will find you. If it’s average, all the connections and personal deliveries won’t mean a thing.
August 21st, 2009 at 2:16 pm
@Logan
Oh my God… How could you say something like that? What did I ever do to you? My ego is now all ripped and bleeding all over the place. I hope you aren’t trying to be one either, or else you’d need to be able to recognize a dramatic exaggeration, and not react on it like it’s, you know, totally for real. Even if all you want to do is insult someone.
August 21st, 2009 at 2:22 pm
@evelyn you did the right thing to ask a pro questions you needed answers to. maybe your questions were a little naive, but you had the courage to ask them, and you got your answer.
keep trying & good luck.
August 22nd, 2009 at 12:26 am
@Faith
It’d be great if you could also recognize an agreement to your joke as well. Thanks for playing.
August 22nd, 2009 at 3:55 am
@Logan
Nice try.
August 22nd, 2009 at 3:23 pm
GET A ROOM. A CHAT ROOM.
August 23rd, 2009 at 12:19 am
@Synthian
No-holds-bard.
Love it. Just imagining Shakespeare as a failed wrestler.
August 23rd, 2009 at 10:21 am
At Evelyn, if you are still reading this:
Congratulations. From what your question it seems you have written your, at least, first screenplay. You have already achieved more than many of the people who are mocking your question, so don’t let them bother you.
John’s answer is very reasonable. Try to make connections within the industry. There are other posts regarding this. I remember one about a guy working as an assistan of some producer, I think.
William Goldman’s advice to aspiring screenwriters was “get your script read by whomever you can”. You never know who’s going to be able to help you meet a producer, an agent… You need iniciative, but I guess that if you were willing to go to the studio to drop the screenplay yourself, you already have a good amount of that.
You could phone studios and ask information: if they accept unrequested submisions, if there’s someone you can pitch your idea to… It doesn’t sound like a good idea to drop by unexpected, but I just don’t believe than studios will close their doors to anybody who is not connected. The quality of most recent Hollywood films is just plain awful, sure they know they need more talented writers desperately.
If your script isn’t an adaptation and you haven’t earned five thousand dollars working as a screenwriter, you could enter your screenplay in the Nicholl competition: http://www.oscars.org/awards/nicholl/index.html. Careers get launched there every single year. There are other screenwriting contests that may be helpful too. Get some information. The Nicholl Fellowship seems to be the best, but so think some other five thousand aspiring screenwriters. Anyway, you don’t need to get one of the five fellowships in order to profit from participating: you’ll meet people working in the industry, and writers that share your struggles and may have valuable advice.
My deepest simpathies to you. I hope we get to see that screenplay of yours made into a film sometime soon. Cheers.
Nelson Alonso
Oh, I’d almost forgotten: I have a book titled “The Screenwriter’s Handbook 2009″ where is listed contact information for studios, production companies, agents, and it also tells which ones accept unrequested material. That might be helful too.
August 23rd, 2009 at 11:44 am
I have also noticed a shift in John’s tone where it sometimes seems rather sardonic, but I just figured he might be going through some things lately that’s wearing down his patience. You never know, he’s only human! Anyway, who cares? He continually provides no less than gold and even questions like these can have little nuggets of information. And it’s all free!
August 24th, 2009 at 1:40 am
In New Zealand almost everyone takes unsolicited screenplays but there’s really only one game in town for getting movies made – the New Zealand Film Commission. As such only 2 – 3 people act as the gatekeepers for the majority of the film industry. If you learn what floats the boat of those people, who may just get in the front door… figuratively speaking.
August 24th, 2009 at 6:01 am
@Nelson — “…You could phone studios and ask information: if they accept unrequested submisions, if there’s someone you can pitch your idea to… It doesn’t sound like a good idea to drop by unexpected, but I just don’t believe than studios will close their doors to anybody who is not connected…”
Please tell me you are kidding. This just does not sound like sane advice. You must be a screenwriter — has this worked for you?
Also, you won’t “meet people” by sending your script to the Nicholls. It’s a competition where you send your script by mail or electronically, with zero human contact involved. You don’t meet the people unless you ARE one of the fellows — and there are only five. It’s not like you’re going to show up with your script along with every other Nicholl hopeful and have a picnic while you talk shop. Maybe I don’t understand your comment (?)
Possibly you meant the Austin Film Festival? They have a screenwriting competition but also have the “festival” part, with tons of people and and panals and workshops, etc..
August 24th, 2009 at 7:55 am
A cynical troll in my head notices a pattern that John was the nicest during the periods where his name was on big summertime/christmas time movies that were raking in money.
August 24th, 2009 at 2:01 pm
at Carol (post #53)-> I don’t see what’s insane about it: if you want to know if a studio or production company accepts unrequested screenplays, there’s got to be someone working there who can asnwer that question. You pick up a phone, dial a number, ask politely and expose yourself to: a)”yes, we do accept unsolicited screenplays, please mail your script to this address” or b)”no, we don’t accept unsolicited screenplays”. No big deal and it certainly can’t ruin anybody’s career.
Regarding the Nicholl competition, what I meant to say is that the finalists, not just the five fellows, get interviews with producers and agents and other people involved in the competition. From my experience with the posts from the readers of this blog, I think that if you organize a picnic with a few dozens of screenwriters it will end up in a bloodbath.
Reading your sarcastic and patronizing words I assume you write intellectual-kind of cynical-black comedies. Keep up the good work! It was great fun reading you.
Cheers!
August 24th, 2009 at 9:04 pm
John’s response was merely an act of ‘tough love.’ Appropriate, inappropriate. Yes, maybe, no.
What did Spock say? (Paraphrase) “Constant exposure results in a certain amount of contamination.”
Lost innocence. Jaded. And perfectly reflective of the world of which we’re all trying to enter. What’s sad is, to me, is that we all have to walk such a straight line. We have to be so careful as to not do or say anything not within the narrow channels of acceptability and precedent.
In reality John did this girl a favor–probably. In the real world (mine) I found her naivete refreshing.
Long live the iconoclast. Hey, anybody see “Inglourious Basterds”?
August 25th, 2009 at 6:22 am
Sorry if I came off as sarcastic, as that wasn’t my intention, but Nelson — the “finalists” in the Nicholls are still only ten people! Ten people out of the 6,380 entries this year.
Hell, yes, you are correct, that would be a great opportunity. But considering she’s asking about “studio hours” (no disrespect to Evelyn, how are you going to know if you don’t ask?) I think expecting her to become a Nicholls finalist in order to get some feedback might be jumping the gun a bit. I dunno. Struck me as odd. But, whatever.
August 25th, 2009 at 11:26 am
at Carol: you are right, I did make it sound like a picnic and it isn’t such a great opportunity, but it is still a opportunity. If I had a finished screenplay, written in English, I wouldn’t think twice about it: it’d try to polish it and get some feedback from friends, teachers, anybody whose oppinion can be useful, and mail it to the Nicholl competition next spring.
The fact that she doesn’t know about studio hours or what’s the right way to step into the film industry doesn’t mean she can’t be one hell of a storyteller. Probably if there were more talented writers and less people who knew other people, Hollywood films wouldn’t stink so much. The same applies to Spanish films, they just stink in a different way.
I seriously doubt your sarcasm was unintentional -given the way you start your second paragraph- but that’s ok, I like sarcasm too. Hey, sarcasm is cool and makes you seem clever, so what can possibly be wrong about it? For a richer and more complex and mature character try sprinkling some constructive advice onto your comments. That would really make a difference. It’s damn easy to point out what’s wrong about many things without offering alternatives or solutions.
August 25th, 2009 at 3:54 pm
John, You are a “tell it like it is,” dude. Love that.
August 26th, 2009 at 2:06 pm
Wow. Where do questioners like this one come from? A perfect advertisement for abortion if ever there was one. Honey, if you don’t know the basics of the business, keep selling perfume at Macys or something. Jesus.
August 26th, 2009 at 2:17 pm
Actually, you’re a good advertisement for that procedure yourself, Crystal.
August 26th, 2009 at 3:30 pm
@ Carol and Nelson,
Nelson, I think what Carol may have been saying is that you don’t have to call the studios to see if they accept unsolicited screenplays because the answer is no. That’s not how the business works. It really is about relationships and agents/managers (and preferably you’ll have both). I think what she was suggesting is that instead of just trying anything you can come up with, it pays to know how people actually build careers and to only do those things. I have never HEARD of anyone who’s gotten an opportunity by sending in an unsolicited screenplay or writing a query letter or any of that. On the other hand, I do have many many friends who have had modest to tremendous success as writers and/or directors and not a single one succeeded by following the tips that amateurs often offer. Which is why it’s such a great idea to listen to people who know. Everyone has ideas, all opinions are valid and blah, blah, blah, but if I wanted to know how to do anything, I’d ask someone who had done it successfully because they’re the ones who know how it’s done. If you look at all the success stories, they all have certain things in common (despite the ways in which these stories vary). The things they have in common are the things you have to do to succeed.