I haven't marketed a script since I tried with my comedy "Super Skunk" about 8 years ago where an agent from an agency that has since merged with the William Morris Agency requested it, but it was a pass. All my scripts have advanced in one screenwriting competition or another, which I'm very proud of.
If your gage on whether something is working or not is a sale, then in your opinion my method isn't working, but, in my opinion, this is a narrowminded view on whether someone has talent or not. Not saying I'm a talented writer, but I know others who are where they haven't broken in yet for whatever reasons: script considered not commercial, haven't connected yet with the right script and with the right industry person at the right time, etc.
I haven't marketed a script since I tried with my comedy "Super Skunk" about 8 years ago where an agent from an agency that has since merged with the William Morris Agency requested it, but it was a pass. All my scripts have advanced in one screenwriting competition or another, which I'm very proud of.
If your gage on whether something is working or not is a sale, then in your opinion my method isn't working, but, in my opinion, this is a narrowminded view on whether someone has talent or not. Not saying I'm a talented writer, but I know others who are where they haven't broken in yet for whatever reasons: script considered not commercial, haven't connected yet with the right script and with the right industry person at the right time, etc.
Why isn't that cool?
You want to do what I do, right?
Maybe listen more and opine less. Could help. I doubt it could hurt.
Maybe listen more and opine less. Could help. I doubt it could hurt.
-- The thing is we're not in a classroom.
I believe participation in debate helps one grow. Actively discussing the craft where one gives his opinion, makes his points, gives his examples of what he's talking about helps him become a stronger writer. Helps him to learn how to articulate clearly and strongly. Helps him to be a stronger reviewer of scripts which all of this helps when he eventually gets into a room and has to pitch his angle on a potential assignment for a producer.
When I'm talking about screenwriting with Scott Frank or John Lee Hancock or Ted Griffin...
...I try and err on the side of listening.
Forget what I write. Just consider that I do the job you want to do, but have not been able yet to do.
Try and incorporate that fact into your approach. Not for the sake of my ego. I could give a **** about getting stroked. Really, more for your own benefit.
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