"This is not to say that success is automatic..."


You need to be aware of certain realities of the screenwriting business from the get-go. The screenplay market is unlike the marketplace for any other writing form, mostly in ways that discourage the new writer.

For example, on the Screenwriters Listserv on the Internet, which is a forum for writers at all levels, a writer shared her surprising difficulty in getting an agent - even though she had a producer who was eager to buy an option on her screenplay! (We'll deal with getting an agent later.)

In other words, all the agent had to do was represent the writer in a deal that was already on the table and collect a ten percent commission. Why wouldn't every agent jump at this offer?

Because most agents look at the big picture, at a writer's career rather than at a single sale opportunity. Also, this offer was made by an independent producer during a "buyer's market," so the option in question was only going to be a few thousand dollars at best and probably less. Ten percent of $1000 isn't worth the time to a busy agent with clients who sell scripts to studios for six digits.

Stepladder to Success

There is a "stepladder to success" in the screenwriting business, that goes something like this:
  1. learn the craft
  2. write a marketable script
  3. get the script read
  4. get an agent
  5. sell an option
  6. get a development contract
  7. go into production
  8. see the film released
  9. see the film succeed

At each step, there is a tendency to relax and think, now I've got it made. This is a mistake!

The first two items on the list are absolutely necessary, of course, just to walk onto the playing field with a realistic chance of getting called into the game. But getting an agent does not assure automatic success, or even getting readings. Many agented-writers still hustle their own readings - and properly so.

Similarly, a beginning screenwriter is likely to yell from the rooftops, so-and-so agreed to read my script! Well, this is certainly better than its alternative. But this is not the end of the road, far from it.

When I sold my first option, I thought I had it made. Four options later, I don't even get excited any more when a producer makes me an offer. I see this as just another necessary step on the journey.

Four times my screenplay Ruby's Tune seemed just about ready to go into production - and the deal fell through each time at the last minute. When my producer gets excited now, I smile and nod - but I won't believe anything is happening until I cash the check - and it clears!

Those are the cruel facts of the real world of the screenwriting biz. Don't get paranoid about them and quit - but don't give yourself false optimism either.

For now, you have much more important things to worry about, such as learning how to craft a screenplay, first; and second, how to conceive one of those magical, marketable concepts that will get you attention in the crowded marketplace.


MODULE 1: SCREENWRIGHT: the craft of screenwriting

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