August 15
9 comments
August 15
9 comments
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This article was extremely helpful. As always, I took notes and I have already started using some of these gems.
The business is so cut throat, there are absolutely no participation trophies. Which by the way was incredibly confusing and frustrating to receive because I knew if I didn’t win, that I literally didn’t win.
A type of arrogance that leads to a human/personal connection with the audience, shows failure after success that leads to resilience and success again.
It’s interesting to know to hint or allude to meaning that to explicitly say it. It makes sense though, maybe the character would be seen as the narrator instead of the character going through trial and error to reach success or sacrifice for the better of the world. I appreciate you phrasing it as letting the audience “play detective”
Like the relation that is used; music and dancing. It really helps to understand the flow and harmony of dialogue in a script. In order for one to proper dance they must be on a rhythmic beat.
The thought of having characters say less really speaks a lot on the notion that actions speak louder than words.
The authenticity portion of the article speaks volume because no in tv and film, works are introduced with a conflict and then revert back to the act structure of the story at hand.
Also it is great that you discuss the jargon for the type of character, like there being a difference between jargon used by a lawyer in comparison to musician.
Leaving room for actors to interpret the scene is vital as well. I’ve seen many interviews or commentaries on films where directors and actors discuss how certain lines or actions where improvised from he script and it translated better in resonating with the audience.
I agree that it’s important to be honest and to take the time to properly read and provide coverage on scripts for fellow OBS writers. I definitely plan on following through with that this year. We all will win!
*were improvised from the script
This is a great article and very on point. It is tough to hear that your script doesn’t make the grade, but it is often true. I’m consistently working on improving in the area of “subtext” to write great dialogue. Taking classes, where possible, reading great produced scripts, and providing and obtaining good feedback from trusted sources. I agree that I must scrutinize the dialogue better if I want to be produced. Yes, as in some of the comments, we can produce ourselves, and it’s fine if that’s all you want, but we have to look at if we want to be one and done or if we want to be one and sought after and not chasing money for our products. Yes, many projects seem to get made that are not up to these standards but the reality is there are so many more elements in that – who they know, who owed a favor, what backdoor deals were made, who are they related to, and on and on. I am not saying this has happened in every case, but we have to consider how do you want to be viewed, whether you go after the traditional route or self-production. I refuse to just settle on my work, I’m committed to doing the hard work.
Great article
Hmmm….valid points but I’m not convinced there is a “be-all and end-all” way to tell great stories in a very inconsistent subjective industry. I’m seeing way too many spec projects (Squid Games, a lot of A24 productions, Hereditary, I’m a Virgo, Baby Reindeer, etc.) that deviate from many of your beneficial suggestions. A good portion of these deviations have become fan favorites despite lacking these important story elements. I’m implementing many of your suggestions but I’m starting to believe there’s a fan for any type of story if you can get it made.
Here’s what’s consistent: the size of the audience must yield a large enough profit to justify the investment. Whether in box office, distribution rights, licensing agreements, advertising dollars, or subscribers – the project has to make money. This is especially true today as most streaming platforms are losing money and most networks are losing audiences. In almost every example you cited the writer/creator worked professionally in Hollywood for a decade or more (sometimes two decades) before they got to make that show or film. Many had “first look” or “overall deals” in place. The exception, of course, is Squid Games, which happened because Netflix, fearing incursion by Disney, invested over $2.5 Billion into the Asian market in hopes of finding a “Stranger Things” that could help them compete as Disney gobbled up Pixar, Marvel, and Hulu. Writing from inside the industry (especially in Los Angeles) with friends at the synagogue; classmates from UCLA, USC, or Columbia; and representation from one of the big seven agencies ain’t the same as writing from outside Hollywood. Those writers aren’t entering contests or sharing their work in a writers’ group. To paraphrase Carole Kirschner (and damn near every guest we’ve ever had), if you’re writing from outside the Hollywood bubble you need “a sizzling hot script.” You’re 1000% correct that there’s not one “be-all and end-all” way to tell a great story. Yet, there are hundreds of problems that keep stories from being great. If you, like Tyler Perry walk in the door with a brand, money, and hundreds of thousands of loyal followers, nobody cares what you put on the page because you’re bringing paying customers through the door. Everybody else better have a great script. By “great” it needs to be great to somebody who will argue for it when you’re not in the room at these three very important stages for sure: 1.) When it reaches the first professional gatekeeper be they at an agency or production house; somebody needs to be willing to risk their job to advocate for you and your screenplay; 2.) A manager/agent needs to be armed and willing to fight for you to get that writing assignment, job, or to sell your screenplay after they send it out to the producers/studios seeking that type of content; 3) Financiers need to be convinced that if they put up the money to produce your script they’ll see the desired ROI. You’re rarely in the room during those conversations, but your script will be. Anything’s possible, but it’s not likely that you can get the same kind of wind under your sails to fight those battles without the track record of Boots Riley (who was doing music videos and other gigs for damn near two decades) or the connections of an Ari Aster, who had representation for nearly seven years before Hereditary got green-lit. “They not like us.” Take what you can use and leave the rest, but get across that finish line “by any means necessary.” We’ll all be cheering for you when. you accept that award, secure that bag, or achieve the stature you desire. Time ain’t on our side.
You’re correct, breaking into Hollywood from way outside the industry can be incredibly challenging, which is why I think it’s crucial for Black screenwriters to prioritize both writing excellence and self-production.
Writing well and self-producing allows us to retain full creative control over our narratives. Hollywood has historically filtered Black stories through a lens that often dilutes our authenticity. By self-producing, we can ensure our stories remain true to our experiences, cultures, and communities, creating content that resonates deeply with audiences who have long been underrepresented or misrepresented.
Hollywood’s gatekeepers have often been a barrier to diverse voices, particularly for excellent Black writers. Self-producing can bypass these gatekeepers entirely, allowing us to bring our projects directly to audiences. In the digital age, platforms like YouTube, Vimeo, and even crowdfunding sites like Kickstarter and Patreon have democratized content creation and distribution, making it more feasible than ever to reach a global audience without the backing of a major studio.
Self-producing allows us to build a visual portfolio that showcases our talent, vision, and unique voice. This can be a powerful tool in gaining industry attention. As seen with creators like Issa Rae, who started with a web series before landing a major HBO deal, self-produced projects can serve as a launchpad for bigger opportunities. Visual work speaks for itself, attracting the very industry gatekeepers who commonly overlook great new writers to protect their livelihood and reputations.
The hard truth is the Hollywood system (Show business) prioritizes ROI over a new writer’s well-written spec. Self-producing our well-written spec’s gives us the chance to create content on our terms, without being shackled by the profit-driven motives of studios. Although the financial risk might be higher, the potential rewards include not only creative freedom but also a greater share of the profits if the project succeeds. Moreover, digital distribution can offer various revenue streams, from ad revenue to streaming platform deals, and sponsorships.
More importantly, self-production can empower communities by offering representation that is sorely lacking in mainstream media. When we produce our own stories, they provide mirrors for our communities to see themselves reflected in ways that are nuanced, complex, and affirming. This representation can be transformative, particularly for young people who see themselves in our stories being told.
I agree it’s essential to write great to hopefully break into the industry, however, Black screenwriters who write well and self-produce are not just striving for a seat at their table—we are building new tables. We redefine success on our terms, telling stories that matter, and creating a future where diverse voices are not only on the page but on the screen. Onward and upward.
Thanks, David. You’ve delivered the tough love and medicine we need to be better.