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Still the One By Jim Falletta
A few years ago (summer of 2002 to be exact) I began to outline the lessons I had learned and the failures I had endured along my road to screenwriting anonymity. Since then, my feet have taken me a few steps closer to where I want to be, but all in all, I still remain anonymous to the majority of Hollywood.
Let's check the scorecard for the official results. Then, Chesterfield Film Company: No. Scriptapalooza: Thanks, but no thanks. Sundance: Better luck next year. Academy of Motion Picture Arts and Sciences: Sorry. In other words, all of these contests and several others my ego would not let me write down, had the same unwritten reply to me-- "Thank you for your entry. It is people like you who afford us the opportunity to reward those writers we deem to be better than you are."
Now, finalist in TV Writer.com's Spec Scriptacular, top 3% Chesterfield Writer's Project, quarterfinalist in Scriptapalooza (one of 321 scripts chosen out of 2,947), top 50 finalist in the Red Inkworks Competition, semi-finalist for WriteMovies.com, special honor list in the Filmmakers.com/Radmin Company competition, top 100 for American Gem Short Script, and finally, quarterfinalist in Acclaim Film & TV's competition.
What have these moderate successes convinced me to do? To the dismay of my stable, conservative parents, I have decided to leave my job as a high school English teacher to give this writing thing the shot it deserves, or the shot that I believe it deserves. I think we are all aware that a high school English teacher will never be at the top of the Forbes 500 list, but I can also guarantee you will not find many struggling writers there either. My salary as a teacher, while never enough to buy me that private island I wanted, was a heck of a lot more than I'm making now. Add on a tremendous benefits package for a job that only required my services for nine months out of the year. What on earth was I thinking? Needless to say, I've learned that paper and black ink are as precious as water and that the bagged rice from Henry's Market can make a good meal. I suppose I could be cliché and tell you that I have mastered the art of Top Ramen but that's so 1999.
In all honesty, leaving a job that I did not love to pursue a love I must treat like a job has been the best thing I have ever done (I never did agree with the whole "if you can't love the one you want, love the one you're with" idea). I must treat this like a job because working out of your home takes real discipline-- working on writing takes even more. It's extremely easy to watch some TV, check my e-mail, read the trades, send out a letter or two, make some lunch, watch a movie, make some dinner, and finish off by checking my e-mail again. After all, that's not a terrible day. I watch TV (research), I check my e-mail (networking), I read the trades (more research), I send out a query letter or two (more networking), I make lunch (fuel for writing), watch a movie (feature research), make dinner (more fuel for writing), and check my e-mail (jeez, I'm doing a lot of networking). Unfortunately, if my day ever goes that way, I'll be missing the most important part of this whole, as my family refers to it, "jobless phase"-- writing!
My current portfolio contains the following projects: four completed features (each one has gained at least one piece of the contest recognition mentioned above), one new feature currently in either its infant or teenage stage, four short film scripts, six TV specs, one original pilot, and three reality TV pitches.
Whew! Anyone else tired?
I often hear people say that it's not a good sign to have a large body of work, no credits, and no representation. Apparently those people have never tried to break into Hollywood. I believe that if you are a writer, you should write. Write whatever drives your passion, and when you are finished, if nobody likes what you have written, keep writing new things. While you are creating new material, continue to push your older work into the marketplace. Always have something out there waiting to be rejected. Only good things will come, or so I have been told and so I am beginning to believe. Besides, you can then play fun games with yourself, like "Who's going to reject me today?" One of my favorites, right up there with Jenga.
Whatever genre you write for (I personally have crafted comedies, family dramas, and crime stories) persistence is the key to everything. My three features that have yet to do anything except cost me lots of money in copying and postage are currently in the hands of both producers and agents in the hopes of finding that one person who just "gets" it. Sounds simple. People "get" things all the time. Unfortunately, that's easier said than done.
Through my limited experience, many interesting things have happened to me. A few examples:
Example 1: I have a comedy script that I believe to be very comedic, naturally. This script has been crafted, adjusted, restructured, flipped over backwards, placed on the edge of the shredder, etc. It has made its way to approximately eight to ten production companies and eight to ten managers and agents, and still it remains unsold and unable to convince an agent or manager that I would be a worthy client for them.
This type of script is not for everyone. I know that. The humor is a bit odd at times; then again, what isn't? My point here is that it really is going to take a miracle to get this script to the next level. It's not a bad script; I have just learned that this is the business of miracles.
Yet with all the rejections this script received, it went on to finish as a top 50 finalist in a recent contest. The competition, like so many others, provided coverage for every entrant. I was shocked enough to hear that my script had found its way into the top 50, but when I took a look at the notes they wrote about it, I was even more shocked. There was only one real note and that dealt with my action descriptions. In other words, nothing about the story, the structure, the characters, etc. A note about my action descriptions?
Quick, get out your journal and mark down this day. You have officially arrived, at least with the judge that read the script. Now, if he or she will just pass your name on to every big agency, management company, and production house, your $45 entry fee will really be worth it.
After sifting through the notes, I totally agreed with their assessment and have since gone back through each of my scripts and retooled/tightened them. I knew I took this year off for a reason.
The important thing is that I found somebody who truly got the script. This person got the references and the humor that up until now, only I have really gotten. If this had been an agent or a production company, this story might have a happier ending. For now this will have to do, but armed with my notes about action descriptions, my script and I head back out into the world ready to be rejected.
Example 2: I submitted two scripts to the same agency within a couple of months. The first one was rejected using the standard jargon. The second, however, read something like this: "Thank you for your submission. Unfortunately we have decided to pass at this time. However, feel free to contact us as you produce new material." Did I read that correctly? Contact them again? Either they sent me the wrong letter or they actually thought I had some promise. Whatever! I've got the letter so I'm sending more work their way.
Example 3: One thing I have discovered is that many people are looking for short scripts. Why? Because they are cheaper than features and they are a great way for directors and small production companies to build their own portfolio. Knowing this, I penned a drama script that has been seen by about four or five directors and/or producers. In one day, I had a director tell me that he thought the piece was "preachy" and that he did not believe any of it. Ouch.
Later that same day, I had a producer tell me that both he and the attached talent liked the script and were seriously considering it. Yeah!
From ouch to yeah, this is an interesting business to say the least. Maybe its subjectivity is what makes it interesting. On second thought, let's go back to that last sentence and permanently delete the word “maybe.”
The subjective nature of it all is something I have learned during my tenure as a script reader for a management company. In discussing criteria for a good spec (TV or feature), I have come to realize that the script will go through about three or four reads before it ever gets into the hands of the manager. Those are tough odds for anyone, more or less people like me who do not instill excitement into the reader. Instead, I instill nothing since they tear off the cover page to avoid any stereotypes while reading. Finding out their policy regarding cover pages does at least explain why none of my paisanos have invited me into their homes to discuss my work.
With the world of features fairly under control, I have turned more of my attention to TV. We all know that these jobs are the best there are. Every article I read talks about it and every person I meet knows of someone who finally made it-- those jerks. Oops. Was that out loud?
I have recently put together an original comedy pilot and specs for "Chappelle's Show" and "Curb Your Enthusiasm." My process goes something like this: watch the show over and over, outline my episodes, write the spec, laugh myself into stitches, look around, and realize I'm alone. Hmmm. That's no good.
Nonetheless, like a utility player in baseball, I continue to hone my skills in a variety of areas just in case the coach calls. I do so by creating new material while trying to find someone, anyone to read my specs; that and by calling the agents and managers for Dave Chappelle and Larry David every day, from an unlisted number of course.
My plan for the next couple of months: Hear back from the agencies, managers and production companies that have my work in their hands, check in with the two producers regarding my short scripts (one is considering it, the other is looking for a director-- the goal is the HBO US Comedy Arts Festival), shoot my own short film, work on the two new features, query every appropriate person in town, and wait to collect all the winnings from the TV contests I entered. Think positive. Think positive. The first week of December, I have a pitch meeting with a production company regarding my reality TV ideas. I've pitched face to face quite a few times, but I had to pay for all of those meetings. This company even told me where the free parking is; it's the little things that make your day. Think positive. Think positive.
Wait, who am I kidding? Nothing is going to happen with any of this stuff. I'm a loser with no talent who should just go back to grading English papers. Think realistic. Think realistic.
Stop thinking. Stop thinking. Keep writing. Keep writing. And eventually I might find myself with an agent, a manager, some credits, some money, and an idea for the next script.
Jim has recently
optioned one short film to Tailfish Productions and is awaiting an option
contract to be finalized for his latest feature. Beyond that, he was a
professional script reader for several management and productions companies
before branching out on his own. His services can be found at
www.WrittenByJim.com/services
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