Whether semi-planned (at a professional networking-type event) or completely random (at a party or casual outing), there will inevitably be a time when you meet a professional who asks you point blank “So, what do you do?”. While some may see this vague question as yet another example of the shallowness of Los Angeles, a professional sees this as their moment to shine. When you respond proudly with “I’m a screenwriter,” that professional will immediately want to know whether (a) you’re just another Hollywood hopeful with minimal understanding of the business and little to offer—AKA someone who cannot help them—or (b) whether you’re a newbie with a solid understanding of the business capable of becoming a professional—AKA someone who can help them… . Let’s make sure you know how to secure option B.
How This Works
A Hollywood screenwriting career blossoms when one can prove they have the ability to deliver the industry a consistent and reliable output of steady work—all while making the jobs of others around them easier. Your most recent project is what showcases your value to the Hollywood system—and when you’re starting out and don’t yet have any credits to do this work on your behalf, you must be prepared to answer professionals with your industry-appropriate work ready to show (with more already in motion behind closed doors).
That way, when you do find yourself in one of these sudden face-to-face interactions and the casual “What do you do?,” and “What are you working on?” questions pop up you will always have a collection of work in motion that allows you to best cater to them with your answer. Meaning, you’ll be selecting the work that best represents what that individual would be interested in hearing about—what’s most pertinent to their career needs, rather than just pitching the story you’re most proud of.
By piquing their professional interest, the conversation can close more on a point of you asking, “So, how can we work together?” or “Seems we have similar content interests, maybe I can flesh out one of your [or your company’s] story ideas?” There’s also the real possibility that the producer or development executive before you might have a focus in a genre you aren’t currently strong in… . That’s okay; this allows you to move the relationship forward by inquiring if they know of any leads in the gold-mine genre type you’re pursuing (they inevitably will and are generally be happy to make an introduction).
But remember, it’s not all about you… . It’s about your ability as a writer to support the needs of the overall Hollywood industry, which is why when you reciprocate the “What do you do?” question, you need to have an appreciation of what the other side’s contributions (and needs) are within the system.
When you’re starting out, it’s very common to be interacting with people who serve—or are hoping to serve—very straightforward roles in the business. People want to be editors, directors, and actors (amongst many other clear-cut roles)… . But as you begin to associate with people who are a bit more established, you’ll find that they tend to have roles that are a bit harder to place: Line producers, producer’s reps, acquisitions agents, and so on. So the more you know about their role within the Hollywood landscape, the more capable you will be at speaking at their level and collecting leads in an professional way. If they’re a line producer or producer’s rep (purely as an example), they’d know which production companies tend to create specific gold-mine genre type movies like the ones you’re writing, so you might be able to get a direct contact or at least get a company name you can search for later on; an acquisitions agent might work directly for one of these companies!
Hollywood, like any industry, is purely a numbers game. Putting yourself out there, interacting with people in all facets of the industry (not just other writers) gets both you and your skillsets in front of new people… . The more people you’re in front of, the more opportunities there are for you to take the lead on. And the more opportunities like these you get yourself involved with, the more your name is slowly (and firmly) planted into the minds of people who can reach out to you when they’re in a jam.
I’m not suggesting this is an overnight achievement; it’s instead a process of always keeping your work (and yourself) in shape so that you can (1) discuss and deliver “fresh” content immediately upon request when you have these encounters, and (2) so that you’re ready to move when that 9.6 Mega-Tsunami opportunity suddenly falls into your lap.
You get to this point by writing every day and constantly rejuvenating your writing arsenal all while honing your pitching skills whenever possible. But generic “write everyday” advice is not the same old “Stephen King writes 2,000 words per day” approach, nor does it mean you literally need to sit at a computer and punch the keyboard for a blocked amount of time each morning… . Writing everyday simply means not being idle with your work; you must always be consistently moving your current film and TV ideas forward toward a state of completion. And “pitching” doesn’t mean only discussing your stories in formalized boardroom meetings, it means being able to intelligently speak about your work in a way that engages the other party (and not blindly spouting out a forced or memorized logline).
Let’s tackle these one by one… .
Your Writing Arsenal
Before you approach Hollywood, you will need at least two (ideally three) fully completed feature-length spec scripts ready to show. In addition, you will need a list of at least ten structured (meaning fully log-lined and “beat-sheeted”-out) ideas ready to pitch. If you really want to approach Hollywood as a writer, then you need to show them you’ve got what it takes; and that you are a writing machine. Having two to three scripts to showcase proves consistency, and the list of ideas shows stamina and preparedness… . Plus, it gives you a great collection of stories to pull from to best engage your immediate professional audience when those inevitable “So whad’ya got?” questions arise.
Although this is a very large volume of work to achieve, it is an excellent target portfolio for you to work toward and to keep as a minimum. However, this doesn’t mean that once you reach this target that you can simply press pause and wait until your career begins. Once you have two to three scripts you’re confident in, you can then pluck one of your solid ideas from your “ten ideas list” and start fleshing it out as a new screenplay. Once fully finished with a completed script, it can then replace the weaker of the previous two to three spec scripts in your arsenal (and you can add a new concept/idea to your “ready-to-go ideas” list)—and this cycle repeats itself.
Here’s another interesting point, as pointed out by Hollywood veteran Donie Nelson: The spec scripts (and the list of ideas) should all be the same gold-mine genre type (or at minimum, very similar ones). Most people make the false assumption they should present a diversified slate… . The opposite is actually what garners results.
Let’s hypothetically say you are in discussion with the development team at a mid-level production company. You get along, your ideas are in alignment with their way of doing business… . You have a gold-mine genre script in front of them and they’re impressed. Before they offer you a writing position for their new film, they’ll want to make sure your current script isn’t just some fluke anomaly (or, random win). They’ll want to make sure you can churn out a workflow that is consistent (and fresh). If they ask to see other writing samples, and all you have is work from a different genre, they might not be convinced. However, if you had a second example, completely unique to the first script yet from the same genre type, you would be able to prove dependability.
But wouldn’t a writer get branded for only writing one type of script? Yes! And that’s a good problem to have… . I hope you do get branded! (As Donie Nelson continued, “If you should only be so lucky as to get branded… .”). Many people falsely see getting known for writing a certain type or style of script as a bad thing; however, being branded is a great thing for your professional career. Go ask a veteran actor, they’ll tell you being typecast is a luxury. When you get a reputation for being able to consistently output a much nee
ded gold-mine genre type, in a factory-style manner, the work will start coming to you, rather than you always chasing leads.
Coming prepared means coming ready to show Hollywood what it needs to see in your work (and from you). Hollywood doesn’t want to see your ability to write any old genre, it wants to see your ability to continue offering fresh and unique approaches to a reliable gold-mine genre type day in and day out.
Still stuck on how you’re going to go back and write two to three brand new scripts? All from the same genre? And come up with another ten ideas that are fully vetted out? It will take time… . But that’s okay, because as stated in the opening of this chapter, writing scripts is only part of the battle; you still have all the other aspects of Hollywood networking to learn.
Don’t panic about the size of this target portfolio…. Remember that it’s more the process of constantly working to build and grow your arsenal that’s most important. If you’re midway through your first script, keep writing until it’s complete…. Once you’re finished, start on the next one. If you don’t have anything yet, that too is okay! Just start with one story idea and build upon it, followed by another and another, until you’re ready to take a crack at your first spec script. Picture any great writer and there was indeed a day when they’d never written a word.
Pitch Perfect: Honing Your Pitching Skills
Some people are naturally gifted at verbal communication… . They seem to be able to gracefully enter a room, open their mouth, and simply captivate an audience. But in truth, most people never started this way. Instead, they learned how to command an audience through practice and application. Many of us cringe at the idea of making small talk, cold calling, or public speaking. And there is no worse feeling than standing before someone, being asked to tell them about your script (or yourself) and being at a total loss for words, followed by experiencing an immediate loss of self-confidence.
I’ve been there—we all have in one form or another—and for those of us (including myself) that get overly self-conscious when pitching our ideas, there are many ways to learn how to fake confidence and teach yourself how to handle any social encounter Hollywood might throw your way.
What follows are a few basic steps you can take action on today (while writing your scripts and working towards your target portfolio) that will not only aid you in how you view your own writing work, but will also improve your self-confidence, so you can pitch your scripts more effectively, and expose you to other facets of the film business, all while helping grow your social network—that’s win-win-win thinking. Before you dismiss these, really read through how each of these can help you (not just to be a more effective writer, but also to more effectively manage your own career):
Improv Groups—Improvisational acting is probably one of the best skills you could ever hope to acquire. Whether you live in Los Angeles or not, your town will have a band of actors with an improv group open to new members. What should you say if asked why you’ve joined the group? The truth! Tell them you are a writer who is trying to gain better confidence and public speaking skills. You will instantly be seen as a non-threat by all the other actors, and believe me, they will want to help you improve your skills and get better. After that, fall into line and have some fun! Let loose. They’ll have you perform all kinds of weird and crazy exercises (breathing exercises, training exercises, etc.). Then you will be placed into groups and given scenarios. You will invent scenarios of your own, which should come naturally to you, given your writing strengths. You will learn the rules of improv, such as accepting whatever piece of information, however ridiculous, your scene partner has introduced to the scenario. Why are these skills so vastly important? Because every business meeting I’ve ever been in literally feels like an improv session! I’m not kidding you. It’s a back-and-forth volley of ideas, opinions, and corporate culture. How you speak, and what you say, will literally be part of the act. You will also learn how people communicate, and you will learn the “beats” people use when telling jokes or presenting ideas (which will also allow you to find those clutch points to jump into the conversation and get your ideas on the table effectively). You will learn how to more quickly consolidate your ideas and get your concept in front of the group as fast as possible, if you want your scenario to be used. (Know what this sounds like to me? Pitching!) Improv classes are not only a lot of fun, you will also make friends who share an interest in the same business, but with a completely different focus (which allows you the opportunity to learn the ins and outs of other professional avenues).
Acting Classes—Joining an acting class accomplishes several objectives that improve your professional writing abilities. First, you will be forced to read scripts from the point of view of a person using it as a tool, not as the bible to a film; and second, you will realize that many actors do not actually read their scripts, they simply scan the pages looking for how many speaking lines their character has (which they do to judge “how important” their role is)… . Seems outlandish? That’s Hollywood. But don’t get discouraged, see the silver lining. This will force you, as a writer, to ensure your smaller characters offer just as complex and interesting acting decisions as do your bigger roles. Third, you will learn the importance of good dialogue versus poor dialogue. You will hear idiot dialogue or forced resolutions in speaking parts, but you will also hear well-crafted subliminal dialogue that allows an actor (and director) the opportunity to draw interesting conclusions in an exchange. Acting classes are also a great deal of fun and will also introduce you to completely new people (hoping to accomplish different goals but in the same industry).
Hollywood Pitch Fests—These are very interesting events; as with most markets and conventions, there’s a steep entry fee along with your standard bag of swag (which typically contains mostly coupons and advertisements—AKA, more stuff for you to spend your money on). But during the actual pitch event, for a small fee (between $15 and $30) you can schedule a ten to fifteen minute pitch meeting with a staff member from a major studio. What will you find once you enter your meeting? A giant room full of small tables, each with a very young (twenty-two to twenty-five year old) intern. This is who you’re going to pitch. Their job is to attend this event on the very off chance some brilliant material comes in… . In short, their job is to take detailed notes of the submission, the writer, and any materials that might be handed off, just so it can be back-logged and catalogued at the studio in the very unlikely chance that their work takes off at some point in the future. Are these events worth it? If you expect to pitch your idea and see it optioned, then no, these events are a total waste of money. But if you are looking to (1) hone your pitch craft and build confidence by pitching to a real person, or (2) make youthful connections who are also excited about making their own Hollywood dreams come to life, then a pitch fest might be a decent one-time investment.
Voluntary Networking
You’re going to have to keep your social network growing if you ever want to get your scripts into the Hollywood hustle… . And that means you’re going to have to get out there and network. The problem is that most of Hollywood’s networking scenarios force us into awkward situations and yield zilch in terms of results when all is said and done. No thanks! (That time would be much better spent writing!)
Fortunately, there are very interesting ways you can approach Hollywood networking that are absolutely one-way tickets to seeing huge returns for your efforts. The irony? You’ll be heading to the exact same markets, industry events, and festivals that everyone else will suggest you should approach, only you’ll be experiencing them in a way where you’ll glean more insight, contacts, and results than everyone else around you.
Film Markets
Now that I annually attend the world’s largest and most prestigious film festivals and film markets, I can give you the piece of advice I wished I had learned back when I first moved to L.A.: Don’t attend a film market, volunteer for one.
Believe me, whether it’s the American
Film Market (AFM) or Cannes, markets need people to handle all the grunt work. They might bring you in several weeks, possibly several months, early… . maybe even for a paying job—minimum wage, of course. But you will be helping orchestrate the market itself and will be dealing directly with decision-makers. You will have access to buyers and exhibitors lists, catalogues, and the client/contact lists of production companies. You will witness all the screening schedules. You will get firsthand access to see which companies handle what genres of content. You will see firsthand the sheer volume of movies (and how many are in the gold-mine genres). You can also volunteer as an intern for the companies exhibiting at the market. Sure, you’ll essentially be the “doorman” or “receptionist” for the company, where you filter out people walking in and so on. But you will be on the inside. As a volunteer, you will witness wannabe writers entering the room and listening to them as they fumble through their pitches. Smile, nod, and learn from their mistakes. But the best part is that there will be downtime… . You will talk with this company about everything and nothing. Don’t make the newbie mistake of actually pitching your work to them during the market; keep your ideas to yourself at the moment. Simply listen to them, and be accommodating whether they ask you to make coffee or fetch supplies. Listen to them talk about movies with others in the room, especially with their clients; listen to them discuss ideas. You will overhear meetings about collaborations and development, about money, even about content that works and content that doesn’t. They will learn to trust you. And, when the market comes to a close, you will have several close contacts that have seen you perform under pressure and will know you are able to deliver what’s needed. Attending a market costs a lot of money, volunteering costs nothing but your time… . And you’ll probably get a few meals covered, as well as more direct access to real working professionals than you could ever imagine.
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