Debunking Hollywood Myths for Uncredited Screenwriters - Part 2

Today, I will debunk two myths which uncredited writers would universally accept as facts. Because no one has bothered to explain the truth, far too many aspiring writers spend years of their lives failing to advance their Hollywood dreams into actual progress. It's time to challenge the conventional wisdom!

Myth: “If I had a big agent, then my success would be assured.”

I’ve had the opportunity to interview countless writers at various Sherwood Oaks College events and elsewhere. I was surprised to learn just how often writers had changed representation. The most typical reason cited for the change was the general belief that the literary agent had failed to achieve any tangible results desired by the writer client. Most writers had actually arranged their own deals with producers and studios via their networking. Don’t get me wrong, a dedicated agent and/or management team in your corner can be a powerful asset. But no agent in town can sell material before it’s ready. And arguably, writers can and do get doors open themselves when the material is ready. Worse is the perception that one needs to be repped by a large agency. Unfortunately, bigger is not always better. Large agencies specialize in packaging proven talent together to maximize the agency commission on each deal. Uncredited writers need not apply, because they can’t possibly generate the commission of a writer with substantial credits. On occasion, a big agent will sign a new writer who wins a major screenplay contest, etc. But when that writer’s scripts fail to sell immediately in the marketplace, the writer will find phone calls from their new high-powered agent are not returned. To be blunt, big agencies care about deals, not people. You must realize your success will ultimately depend more on writing talent and networking than any agent. If you want proof of this, ask any writer with credits!

Myth: “I might sell my screenplay at a Pitching event like so many others have done.”

Aspiring writers want access to Hollywood decision-makers, who in turn are seeking quality material to buy. So, understandably, pitching events appear to be the ideal place for “buyers” and “sellers” to meet. But the uncredited writer’s excitement to pitch clouds the truth about the limitations of most pitching events. Let’s examine this myth. The typical person hearing pitches from writers on a weekend is rarely a company decision-maker. Therefore, writers are not truly pitching to “buyers”; hence there is really no practice expectation of selling a screenplay. The person hearing pitches is often a junior development exec, an assistant, perhaps even the company receptionist. The chance to hear pitches and get paid usually $100 plus lunch is plenty enough incentive for someone seeking career advancement at companies. Yet, on occasion, the person will be a senior exec, so there will be an opportunity to make an impression. But it’s hard to standout when limited to five minute pitches, sandwiched between thousands of mediocre pitches. The people hearing pitches are numb and have migraines by the end of the day. I have been one of those people before, and I remember how I felt. Of course, that doesn’t mean there aren’t wonderful benefits to attending pitching events. Writers meet industry people, a critical first meeting. Writers are not required to pitch during their five minute meetings. I strongly recommend NOT pitching, but instead use the five minutes to get to know the contact better, what types of projects do they personally seek, etc. Then, the writer can have radar out, looking for such projects knowing they have a contact passionate to read that material. But it isn’t bad to get practical experience pitching. Also, there have been rare cases when material eventually was sold via pitching (although I can’t recall the movie ever being produced to date). Some projects have been eventually optioned. More writers have ended up getting representation from literary agents and managers. So, there are positive benefits to be gained. But don’t assume that just because someone requests your script that big things will happen. Based on hundreds of thousands of unsuccessful pitches from writers, pitching events frequently promise more than they deliver. Be smart, polished, and realistic before you attend these events. Naturally, you better have a script that lives up to your pitch or you will learn the meaning of rejection fast.

More debunking is to come...