BE INDISPENSABLE - Part 1 & 2

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  • BE INDISPENSABLE - Part 1 & 2

    I have a few pre-pro friends who have day jobs studios, two of them have the exact same non-creative job at two different studios... and both have been employed at these jobs for about the same amount of time and are equally qualified. Thatâ€TMs where the similarities end, though.

    Friend A thinks his day job is just a way to pay the bills until he sells his first script. So he "goes through the motions" at work for 8 hours a day. He shows up, puts in the minimum amount of work for eight hours and goes home.

    Friend B works his butt off at his day job. He does as much work as he can fit into the day, usually more than heâ€TMs been assigned. His theory is: even though this job is far removed from screenwriting, heâ€TMs still working for a studio - his boss may someday come into contact with someone in the company who might buy scripts - and he wants to be the employee his boss wants to help. Plus, heâ€TMs there for 8 hours a day, why not do a good dayâ€TMs work?

    Studios are tightening their belts, laying off employees... and guess who has to find a new day job? Friend A! Though everyone likes him, heâ€TMs just not a very hard worker. In fact, Iâ€TMm amazed at how little he knows about what happens in his division - he knows less than I do! I get what little information I know from reading the little business blurbs in the trades (he never reads the trades). I even knew the layoffs were coming before he did.

    So, youâ€TMre wondering, what does any of this have to do with screenwriting?

    Well, screenwriting has a creative side and a business side. Most of us love the creative side and completely ignore the business side... and our careers may suffer. Tao wrote a great post about what studio belt tightening means to screenwriters, and hereâ€TMs how Iâ€TMm dealing with the problem, and how *you* can deal with the problem:

    Be indispensable.

    When theyâ€TMre handing out the pink slips, be like Friend B. Be the guy who they canâ€TMt afford to lay off. Be the screenwriter they have to keep hiring.

    How do you do that? Well, a large part has to do with the creative side - being a damned good writer. But there are many damned good writers, so the other part is that business part. The non-creative side of screenwriting. The part of our jobs thatâ€TMs actual work. Stuff we donâ€TMt like and probably donâ€TMt really want to care about. The "day job side" of screenwriting.

    Remember, this is a business. We hate to think of it as a business, but the guys in the suits who pay us think itâ€TMs a business. They expect us to be good employees.

    SUBJECT MATTERS...
    One thing that will keep us employed is writing the types of scripts that generally make money. One of the items in Taoâ€TMs post was that studios are going to be making fewer dramas - thatâ€TMs because they generally donâ€TMt connect with a large audience and donâ€TMt make as much money. I know Iâ€TMve called drama "the genre of flops" here before - a straight drama isnâ€TMt going to make as much money as a genre film. So, writing genre films is going to keep you employed.

    Iâ€TMm not talking about chasing trends, here. Look at the bigger picture. Think about popular genres. When I do pitch clinics for Sherwood Oaks I bring along a copy of the Sunday movie section of the newspaper and frequently ask people to find a movie similar to their story in there. Often they canâ€TMt, because they are pitching some weird non-genre piece. Usually there are comedies, rom-coms, thrillers, action, and for the past few years weâ€TMve had a bunch of horror.

    People ask if horror is over-saturated. Is the genre about to die? Why should I write a horror script when that genre might dry up? Well, first - there have always been horror movies. There was a period, right before SCREAM, when horror was less popular... but they were still making horror films (and buying horror scripts) - just not as many. It wasnâ€TMt like now, when every other film released is a horror flick. Now is a horror boom, and when that runs its course, weâ€TMll be back to a normal number of horror films released every year. Even in the "slow years" horror was still a popular genre. So you want to look at genres that are around even when they arenâ€TMt the most popular.

    Chasing trends is writing a horror script with a creepy little dead girl and lots of running water because THE RING was a hit. You just want to think about horror in general and try to find something original and exciting in that genre. Every genre contains dozens of subgenres, plus you can mix genres and come up with something like SHAUN OF THE DEAD. Writing within a popular genre doesnâ€TMt limit you if you have an imagination.

    Writing within a genre isnâ€TMt selling out, itâ€TMs writing something you can sell. I did an Ideas Class at Expo last year (also on CD) where I talked about tools like Magnification that can take your personal story and turn it into a high concept genre story. Every script I write is personal - even if itâ€TMs about the last of the vampire hunters or the search for a sunken Spanish galleon. The key is to find the way to tell your personal story within the framework of a popular genre - and itâ€TMs not difficult. When we look back at the Golden Age of Hollywood (30s & 40s) the movies were all popular genres and screenwriters were still able to deal with social issues and personal themes (which is why those films were great). The BFI has called the thriller THE THIRD MAN the best British film ever made - itâ€TMs a genre story!

    Part 2 follows....
    Free Script Tips:
    http://www.scriptsecrets.net

  • #2
    BE INDISPENSABLE - Part 2: This Time It's Professional!

    SELF DISCIPLINE (not as fun as self bondage)

    Another way to be indispensable is to do good work in a timely fashion. Be a good employee. I know Iâ€TMve mentioned this writing team I know who have never turned in a script on time. Hereâ€TMs the amusing part - they got an assignment from Warner Bros several years ago and turned in the first draft a few months late... and it wasnâ€TMt some kick ass amazing first draft. It was a first draft that needed work. So they were given notes and sent away to rewrite. The second draft was also a few months late. So they were replaced by other writers who could turn in work on time. In fact, word spread about how late the first draft was, and these guys had period of time when they couldnâ€TMt find any assignment work. Or, at least, none that paid well. A couple of lean years pass, and they manage to land another studio assignment at Fox last year. So I ask them how the assignment is going, and they say they havenâ€TMt started it, yet. Time is ticking away, and theyâ€TMre still "thinking" about the script! It comes down to a month before their deadline, and they still havenâ€TMt started. Needless to say, the first draft was turned in late and was written in haste and sloppy... and they didnâ€TMt get a chance to write the second draft. When I talked to them before the holidays they said they were giving up on studio projects because they were too demanding and were going to make their own movies. I translated that to mean that word had spread again about how late their draft was and no one was hiring them.
    If you canâ€TMt turn in a first draft on time, youâ€TMre dispensable and theyâ€TMll flush you. So make sure you have good work habits even when itâ€TMs creative work. Be the best employee at your job - even when the job is creative. Iâ€TMve has some insane deadlines (2 weeks for a first draft!) and always turn in my work on time... and itâ€TMs of the expected quality (usually better than hey expected). On my website, I usually post my first drafts instead of the "fixed" versions so people have an example of whatâ€TMs expected. Many of these first drafts have typos, but the story part works. BLIND TRUST was one of the 2 week wonders, and they signed an Oscar nominated actress for *below her quote* off my first draft. Of course, two weeks to write a feature is unusual - so thereâ€TMs no reason why you should be several months late on that half year youâ€TMll probably get. I have no idea how these guys could be so late *twice*!

    PLAY NICE!
    Another way to be indispensable is to be pleasant to work with. I know, that sounds strange in a business where 95% of the time you are working alone in your office, but that 5% when youâ€TMre working with others is critical. If youâ€TMre a jerk or smell bad or are difficult to get along with, people may not want to work with you. If you fight over every minor change to your script, no one will want to work with you. Save the fights for the really important things - then use logic to make your case. And if you can use *business* logic and explain how the change will result in less money at the box office, even better. Youâ€TMll be speaking their language. Think about what is best for the movie. Often writers get so attached to their words that they forget that no one sees the words on screen - they see the movie. You may be fighting for some words that donâ€TMt even matter in the long run! Pick your battles, and if you lose, lose with grace. Make the changes the best you can, even if you donâ€TMt agree with them. Itâ€TMs stupid to sabotage your own movie through inferior work.

    You may have thought I was joking about smelling bad, but I once got an assignment because the other writer didnâ€TMt bathe regularly. I assume our writing abilities were comparable... but the development exec didnâ€TMt want to be stuck in the same room as the smelly guy for the next few months. Being smelly is a negative, but also think about the positives. How can you be the kind of person people WANT to work with? I know there are comedy writers who get work because they are funny in person. Development execs want to hang out with them. Iâ€TMm not saying you should go out and buy a joke book, but you might need to work on your social skills. This is my problem, that Iâ€TMm working on. Iâ€TMm a typical shy writer type. Around my friends I can be the life of the party (though not at an actual party - usually too many people I don't know), but with strangers? Strangers who hold my career in their hands? I tend to be quiet and polite and... boring. So Iâ€TMm working on that - Iâ€TMm trying to be more like I am with my friends when Iâ€TMm with strangers who can hire me. This isnâ€TMt easy, by the way, but I have to do it if I want to become indispensable.

    Everyone knows they need to have a *script* that no one can say "no" to - a script that is so well written that everyone wants to buy it and make it... but thatâ€TMs only half of screenwriting. We also have to consider the business side and become the *writers* that no one can say "no" to. We have to write the scripts that audiences want to see and do good work on a deadline and be pleasant to work with. We have to be completely indispensable.

    - Bill

    Free Script Tips:
    http://www.scriptsecrets.net

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    • #3
      Re: BE INDISPENSABLE - Part 1 & 2

      sweet posts, martell

      Vig

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      • #4
        Re: BE INDISPENSABLE - Part 1 & 2

        Be on time . . . be nice . . . wash my a$$ . . . joke book, got it!

        Seriously, thanks, Bill. http://scriptsales.com/boards/images/smilies/smile.gif
        I love you, Reyna . . .

        Brown-Balled by the Hollywood Clika

        Latino Heart Project's MEXICAN HEART...ATTACK!
        I ain't no punk b1tch...

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        • #5
          Re: BE INDISPENSABLE - Part 1 & 2

          Exactly. It's all common sense stuff... but how often do we screw up on the common sense stuff?

          - Bill (frequently)
          Free Script Tips:
          http://www.scriptsecrets.net

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          • #6
            Re: BE INDISPENSABLE - Part 1 & 2

            Great stuff Bill-Thanks!

            It sort of goes along the lines of...
            You're not just selling your script, you're selling yourself.

            Steph
            "Only those who risk going too far can possibly find out how far one can go." --T.S. Eliot

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            • #7
              Re: BE INDISPENSABLE - Part 1 & 2

              Bill, I didn't mean to come across as if what you posted is common sense stuff that I already knew. I didn't know. I was trying to make a funny. Damn funnies. I'm grateful and I appreciate when you and others in the know post because it's the only view I get of what really goes on "inside." I appreciate your generosity.

              Two taps to the chest, kisses two fingers, throws up a peace sign.

              Corona
              I love you, Reyna . . .

              Brown-Balled by the Hollywood Clika

              Latino Heart Project's MEXICAN HEART...ATTACK!
              I ain't no punk b1tch...

              Comment


              • #8
                Re: BE INDISPENSABLE - Part 1 & 2

                Writing horror films when you usually write drama isn´t selling out? I realize that this i a Hollywood forum but why wouldn´t you write drama scripts and send them to some indie companies instead of writing genre scripts if that´s hot. You won´t get the big bucks but you are still doing what you love. Yeah you can find a way to make a horror script personal but they you should also like horror movies. There´s a big leap between horror movies and non genre movies. The horror movies that are being produced doesn´t have any depth and are most often not on peoples top 10 lists of best movies of the year. They´re popcorn sellers. So would you rather write popcorn sellers and make the big bucks or write something you would die for to see in the theathers for less money. There are people who enjoy writing in the horror genre, I see that, but changing from drama to horror, come on. Just my 2 swedish öre.
                - Tomas

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                • #9
                  Re: BE INDISPENSABLE - Part 1 & 2

                  Originally posted by tomasz1985
                  Just my 2 swedish öre.
                  Mmmmm ....2 Swedish ores.

                  Tomas, Bill is talking about the difference between earning a living as a pro writer and....not. That is not to say a better or worse writer but one who obtains regular employment through writing material which is in demand rather than difficult to market marterial which may or may not find a specialist buyer.
                  http://wasitsomethingiwrote.blogspot.com/

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                  • #10
                    Re: BE INDISPENSABLE - Part 1 & 2

                    Originally posted by tomasz1985
                    Writing horror films when you usually write drama isn´t selling out? I realize that this i a Hollywood forum but why wouldn´t you write drama scripts and send them to some indie companies instead of writing genre scripts if that´s hot. You won´t get the big bucks but you are still doing what you love. Yeah you can find a way to make a horror script personal but they you should also like horror movies. There´s a big leap between horror movies and non genre movies. The horror movies that are being produced doesn´t have any depth and are most often not on peoples top 10 lists of best movies of the year. They´re popcorn sellers. So would you rather write popcorn sellers and make the big bucks or write something you would die for to see in the theathers for less money. There are people who enjoy writing in the horror genre, I see that, but changing from drama to horror, come on. Just my 2 swedish öre.

                    Tomasz-

                    You are actually helping make Bill's point for him. Part of your job on the business side of screenwriting is knowing the history of the market.

                    Before Francis Ford Coppola wrote the Godfather, he wrote horror.

                    Before Curtis Hanson wrote LA Confidential, he wrote horror.

                    John Sayles (Piranna, The Howling) uses his salary from doing genre re-writes to fund his own small films (Eight Men Out).

                    There are dozens of others.

                    It's easier to break in writing something commercial. I don't think anyone would ever accuse John Sayles of being a sell-out.

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                    • #11
                      Re: BE INDISPENSABLE - Part 1 & 2

                      Of course there are writers who can write in different genres but I wouldn´t advice someone who write drama to switch to writing horror scripts just because the market says this and that. It takes time to master a genre and if you write horror scripts because you want to be able to write drama specs or in some other genre later then for me that´s wasting time. Let´s say the horror trend ends in 3 years and drama specs becomes hot, should you just switch back to writing drama specs? Why not just write in the genre you like the most and wait for better days or send it to some indie producers?
                      - Tomas

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                      • #12
                        Re: BE INDISPENSABLE - Part 1 & 2

                        Originally posted by tomasz1985
                        Why not just write in the genre you like the most and wait for better days or send it to some indie producers?
                        I think you are missing the point of the post Tomas. EARNING A LIVING FROM WRITING.

                        Bill is not advocating everyone write in the popular genres if they don't want to. He is advocating that this is what you may have to do if you want you earn a full time living from writing.


                        If you don't require to make a full time living from writing then this obviously gives you the freedom to write anything you please. It can be a bit of a trade off.
                        http://wasitsomethingiwrote.blogspot.com/

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                        • #13
                          Re: BE INDISPENSABLE - Part 1 & 2

                          I write horror.

                          But I don't write horror because I want to break in. I write horror because I love horror.

                          I also write psychological thrillers, supernatural thrillers, dark comedies, surreal dramas... all sorts of psychotic stuff.

                          Now, if horror and all of the other genres and subgenres in which I write were to suddenly become cold and, say, westerns and romantic comedies caught on fire, would I write a western or a romantic comedy?

                          No.

                          Why not, you ask? Because I don't know those genres as well as I do my favorites. I'm not in love with them. I wouldn't be able to write a decent screenplay in either (unless I wrote a horror western or a dark romantic comedy... maybe). I wouldn't WANT to write a screenplay in either. Leave the romantic comedies to Joan Easley and the westerns to Bill Marquardt -- people who know those genres and would shame any attempt I made at writing in one of them.

                          Because I sure as hell wouldn't be able to break in with either a western or a romantic comedy.

                          But I might with horror.

                          (This seems like common sense.)

                          So, yeah, I'm with tomasz on this one.

                          And Taotropics.
                          I'm baaaaaaaaaaaaaaaaaaaaack!

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                          • #14
                            Re: BE INDISPENSABLE - Part 1 & 2

                            I believe in writing within your genre comfort zone. Mine is, yes, romantic comedy and comedy, and I wouldn't try to write horror just because it's popular. I have no feel for horror, and I wouldn't be good at it. So we're even.

                            If you want to make a living at screenwriting, it's smart to look at the all the kinds of movies you love, all the kinds of movies you have a feel for, and write in the most saleable genre of those.

                            If you like period piece dramas and contemporary woman-in-jepoardy thrillers, the latter is more marketable. Dramas may win contests, but as a rule, they are not considered mass crowd-pleasers like comedy, horror or thrillers. And period pieces are more expensive to make than contemporary pics. So if you're chosing between the two, I say write the woman in jeopardy thriller that you also have a feel for -- the script where your taste intersects with the taste of the largest number of other people.

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                            • #15
                              Re: BE INDISPENSABLE - Part 1 & 2

                              Originally posted by Joaneasley
                              If you want to make a living at screenwriting, it's smart to look at the all the kinds of movies you love, all the kinds of movies you have a feel for, and write in the most saleable genre of those.

                              .
                              That's what I meant. But I had a headache.
                              http://wasitsomethingiwrote.blogspot.com/

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