Tools for Success to Become a Professional Screenwriter

by Michael Carr

There are many books out there that offer you tips on becoming a successful, professional screenwriter. And, these are my opinions - being the director of Telluride IndieFest and Key West IndieFest - opinions that I share with aspiring screenwriters on college campuses.

Now, and like Dennis Miller says, "These are my opinions, and I could-be wrong." - however, I doubt it, for these opinions are 'tried and true' that have lead many of our festival entrants onto the 'road to success' as professional screenwriters.

Write:

1. Concise, yet clear.
   
   Brevity and clarity are a BIG virtue in screenwriting!
   
   Narrative should be brief, albeit highly-visual for the director, for once your script is sold and/or optioned, the script becomes the domain of the director. After years of previewing the selected scripts for our IndieFest events, one screenwriter I know has become a master of this concept of writing concise, yet clear. Allen Cody Taube from Key West (FL), a 10-time award winner at various film and screenwriting festivals across the nation (including ours).
   
   Allen's narratives (in setting up the scene) are simply right-on. Brief, and highly-visual - with very few words. Sometimes only one line, and frequently with just a few words. Being a screenwriter and a film director myself, every time I read one of Allen's scripts I can easily visualize what he is conveying in setting the narrative - and that is what a director wants to see.
   
   
2. Write only when you are inspired.
   
   If you've got 'writers block', or you don't WANT to write (at that time) - just walk away.
   
   Some highly-regarded writers of screenwriting books espouse the theory of writing everyday, often 'forcing' yourself to get in front of that keyboard and write 'something'. Some even espouse that you should write X number of pages per day. I reckon they are suggesting that you stay 'on top' of your work, and to develop a writing discipline - and that may work for some. However, I disagree with them.
   
   If you are not inspired to write, then don't. If you are at the keyboard and nothing comes to you - just get up and forget about it. Take a walk, take a drive, take a vacation, make love to your mate - anything to take your mind off your screenwriting!
   
   I have written nine screenplays - two have been optioned, and one has been produced into a movie (a feature film that I directed myself, but we will get to that later), and the one thing I realized during the screenwriting process is that I write better - and often 'binge-write' (for hours, sometimes for days at a time) - when I am inspired to write.
   
   Getting away from the writing (if you are 'blocked') clears your head- and that is a good thing, because ideas then start coming to you when you are not (directly) thinking about it!
   
   
3. Never write any dialogue.
   
   Let your characters do the talking. YOU are taking 'dictation' (like a 'court reporter).
   
   When I say this to a college or festival audience, I see jaws drop. For yes, in the nine scripts that I have written I have not (directly) written a single-line of dialogue. I set the scene with the narrative - then, I let my CHARACTERS do the talking - and I jot down what they are saying in the scene. It is like being in a trance, watching the scene unfold, and letting my characters say what THEY have to say!
   
   Now here is the caveat. When you are writing the script, it is YOU who are the director (at-that-time)! If you really don't like what your characters are saying, or how they are saying it - then say "CUT! Let's try it again!" Then, re-write the scene until it suits you (the writer/'director').
   
   A good screenwriter (of course) should know their story inside and out - however, trying to put words into your characters' mouths is the 'bane' of the screenwriter. Let them do the talking, and you write down what they say!
   
   Frequently - once I come out of this 'transcendental' state of writing - and I read what has just been written, I smile - because it is like a 'spirit' has been occupying my head - and a SPIRIT it is - the 'writing spirit'!
   
   
4. Let it flow.
   
   The STORY - especially in its *first* draft.
   
   I wrote a manuscript for a book that I was inspired to write called "CONTRARY TO ORDINARY" (a song title from Jerry Jeff Walker), a saying that has become a central theme of my life - for I perceive myself as-being "contrary to ordinary" (the 'road less trod', you might say).
   
   The original manuscript was 680 pages long! A couple friends of mine in Telluride read it, then suggested that I try my hand at screenwriting - because a script (they said) is only about 100 -110 pages - and recommended that it should not-be more than 120 pages (following the Hollywood axiom that one page of script is one minute of film time).
   
   I thought "Wow!" - I can write 100 pages easily. Well, let me tell you, it WASN'T easy! The first draft of "CONTRARY TO ORDINARY" was a whooping 188 pages long! They said, "Don't worry, Mike - in your first draft just get it ALL out, because you WILL be re-writing, re-writing, and re-writing! At least you have all of your ideas down!"
   
   And, they were right. The second draft was 148 pages. The third draft was 129 pages. And, the (presumed) final draft came in at 105 pages.
   
   Therefore - in your first draft - just 'let it flow', and don't worry about how long it is - because a script is not TRULY finished until the film is 'in the can' - and even then there may be some re-shoots that require re-writing, or creating new pages of script! You might even say that a script is not truly-finished until it is being shown in theaters!
   
   
5. Write visually.
   
   If you cannot SEE your movie as you write it - then, screenwriting may not be your 'calling'.
   
   When I am at the keyboard writing - I am watching the movie unfold before my very eyes. Film is a VISUAL medium, and if you cannot see it, then it just isn't there! Once again, Allen Cody Taube is a master at this. When I am reading one of his scripts, I am WATCHING a movie - and THAT is the mark of a good screenwriter!
   
   Novelists have-to write visually, as well - however, to do so in writing a book may take a novelist a page to 'draw the reader into' their story scene. A screenwriter must do the same-thing - in a mere fraction of lines! THAT is the challenge for the successful screenwriter.
   
   
6. Learn to accept rejection.
   
   If you cannot, then (again) screenwriting (or writing in general) may not be your 'calling'.
   
   You must-develop a 'salesman's mentality' when dealing with Hollywood. As my father told me years ago, "Son, it takes 100 calls, to get 10 prospects, to close 2 sales." In Hollywood, those numbers should may be 'inflated' - especially if you don't have any 'contacts' in the business (and, yes - it is a business) and, in particular, if you are trying to break into the business as an unknown writer.
   
   Perseverance is the key - and believing in yourself and your talent (if you have the 'talent'). It IS a 'jungle' out there (in Hollywood), and more often than not you will receive rejection letters - even if your script is outstanding. The reason: Those folks reading your script at Talent Agencies and Production Companies have to "watch their OWN asses." If they say "Yes" on a script, and a producer or the head of the talent agency says "No" - then their job is on the line! That is one of the reasons to enter screenwriting festivals - to build up a 'track record' of success that you can use as a 'calling card' (which just-might open the door to opportunity for you)! However, even learn to accept rejection from screenwriting festivals, because not every screenplay submitted to a festival is going to be selected.
   
   A good piece of advice - from the "De-Motivational Series" a friend sent me a few years ago: "Winners never quit, and quitters never win. However, if you never win, and never quit, then you are an idiot."
   
   Few screenwriters succeed out in Hollywood - compared to the millions of 'aspiring' professional screenwriting around the world. You may have the 'talent', and still-not catch your big break into the 'biz'. You may even have high-level contacts in the business, and STILL not get your script sold or optioned. However, don't give up to easily - because like I said earlier - it IS a 'jungle' out there in Hollywood - and only the STRONG survive!
   
   Writers write because they have a burning desire to write! I often write just for a creative outlet. However, if you are writing just to 'cash in' for the money - then, forget about writing as a vocation. Write because you WANT to write - then do your BEST to get your screenplay sold or optioned!
   
   
7. Giving up creative control. IF you are fortunate to have your script sold or optioned, that's just about it for you (the writer) - because your screenplay is now in the domain of the director (and their production company).
   
   "Take the money and run" to the bank - that is your monetary reward - and that is about all you will get (besides the screenwriting credit).
   
   You've 'done your duty', and it is now time for the production company and the director to do theirs. You NOW have a solid track record (if the script becomes a movie), so start writing ANOTHER screenplay - and put the other one behind you!
   
   
8. Writing and directing your own script.
   
   This is the way of the 'independent' filmmaker - which is the business that I am (now) in.
   
   After years of frustration in trying to 'break into the business' - even with the help of some Hollywood professionals I knew in Telluride - I wrote a script about Telluride called "TIME CROSSES OVER" - a contemporary western with historical significance.
   
   After a couple of paid writing assignments - and other monies I had earned and saved up - I decided to shoot my own (small-budget) independent feature film. I should have shot a short film, and saved the $75,000. However, I digress. The point here is that by writing and directing my own film, I got to learn 'first-hand' what happens to a script once it goes into production. What I thought was a very-tight 'shooting script' - wasn't. Some things were impractical (or too expensive) to do, some scenes just didn't work, revisions to the script were sometimes written on-the-spot (my laptop and a portable printer came in handy!) - and even though I-did capture the true essence of what I was after - you should SEE the difference between the original shooting script and the FINAL shooting script. I was blown away - yet I learned a lot about the 'process' of actually making a film.
   
   My advice to frustrated screenwriters is to go out and shoot your own SHORT film (first) - using a digital camera(s), computer editing suites (like Final Cut Pro, Adobe Premiere, etc), do your very-best, but DON'T spend ton of money (that you may never see again)! Then, enter it into some reputable festivals - and if it is selected - use your short film as a 'calling card' for bigger and better things. Audiences like short films because you are 'in and out' of the film quickly ('short attention span theater', as I call it) - and, if it is real-good - they are entertained! And that is what it is all about in the end - entertaining your audience - for if you do, that's when the cash register starts ringing!
   
   Brevity - yeah, right. See how even I can 'ramble on'! However, I wrote this piece out of inspiration (in one sitting, in 2 hours) because I really-do believe this is good advice for you 'out there'.
   
   Glean what you will from this discourse - and 'all the best of success' in your writing careers!
   
   Michael Carr
   Writer-At Large (XL)
   

Updated: 02/23/2004

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