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THE BIGGEST MISTAKE NOVICES MAKE IN SUBMITTING THEIR SCRIPTS
My Fellow Writers,
First off, I should ask - did anyone actually follow the suggestion in last week's column and write at least one hour every day? If you did, congratulations - a 7-day writing streak is a great start. Keep it going!
Okay, I know last week that I talked about the "Three Biggest Mistakes . . ." but to be honest, the other two paled in comparison to the most important and common mistake, so I'm just going to focus on that one.
Here it is: The biggest mistake novices make in submitting their scripts is sending out a script before it is truly ready.
I know this doesn't sound exactly insightful, but the fact that it happens so often makes me think I'd better talk about it. It actually hurts the credibility of all writers when writers submit scripts that aren't at their best. I think it's human nature. We write and rewrite our scripts so many times, and we start to pass over the mistakes and shortcomings without seeing them. I know I've done it, and I'll probably unwittingly do it again throughout my career. But I'll try my best to avoid it, and I hope I can help some of you avoid it, too.
My underlying point is that you should never let anyone in the business - agent, executive, or otherwise - see your script until it is absolutely at its best. They will say that they "know it's a first draft" or some other such nonsense, but the fact is, they'll judge it solely on its current merits. They're not writers. They have no imagination. They're only interested in the finished product - and it's up to you to deliver it to them, the first time out. If you don't, you will get a "pass."
There are two major things that can go wrong with a script. First, the premise can be flawed to begin with - and even if Ernest Lehman (or Ernest Hemingway) tried to write a script about it, it just wouldn't be all that compelling or cinematic. Second, the script can fail to live up to the potential of the premise.
In my experience, most scripts fail at the latter stage - the execution of the script. This is no secret to any writer who's finished more than a screenplay or two, yet most scripts I've read in my career have been at least somewhat flawed. I'm not being a picky reader when I say this. I'm talking about unfinished subplots, bad transitions, contrived situations, unoriginal or overlong scenes - basically, mistakes that most of us would agree on. Yet these kinds of things slip by writers and their trusted readers every day. Don't let this happen to you. The script is the tangible version of your talent - one of your children. Don't let it go until it's kicking and screaming and ready to be released. Don't settle for anything that seems like it could be improved.
Let me digress for a moment. Every time I talk to a group of writers, one will invariably insist that his or her idea is so brilliant that companies will buy the script just to have the concept - even if the script isn't exactly perfect. Now, I'm not saying that this doesn't ever happen. But it's a real longshot. And most often, even if it does happen, the first thing that a producer will do is forget where the concept came from. Because the producer will be too busy out trying to find someone who can actually execute a script. You'll get a little check, and then your calls won't be returned. And that's best-case scenario. Most of the time, the production company will politely pass on your script and give you the kick-in-the-pants known as the "open door."
Don't blame the production company - it's their job to sift through scripts and find the ones that are the most ready to shoot. They have to go sell it to someone else - actors, directors, studios, or networks - all of whom will judge the script on the execution, and not the concept. The production company reader who first sees your script is paid to get through a pile: 5 every night, 10-30 on weekends. In that pile, there are scripts written by everyone from mental patients to longtime professionals to the producer's husband, wife, or personal trainer. The competition is intense, and you've got to make sure that your script is up to the task. You are up against every other writer out there. Not just the aspiring writers in the neighborhood coffee shop, or your fellow film school students, or the legion of unproduced screenwriters in the world - you're up against everyone. Your competition is Scott Frank, Ted Tally, William Goldman, Aaron Sorkin, David Kelley, and every other top-notch pro who's already working in your genre. Your competition is AMERICAN BEAUTY, THE MATRIX, and THREE KINGS - and whatever other great movies are out there.
I know I sound pessimistic on this point, but I'm truly not. I'm realistic, and I'm trying to make sure that we all hold ourselves to higher standards, so that we can deliver the best scripts possible. Sure, it seems daunting to go up against such seasoned veterans, but there really is a good side to this. For one, once a reader opens a script, he or she doesn't really care if it comes from CAA or a CPA; if it took three weeks to write or three years; or if you're 21 or 101. It's what's on the page. Sure, they might give a Steven Zaillian script slightly more benefit of the doubt, but that just gives you the advantage of surprising them with something great. Think of it like going to a movie and not expecting very much - if the movie delivers, the experience is that much better. You just have to make sure your script delivers on its premise.
Okay, knowing what you have to deliver is one thing - so HOW do you make sure that your script is ready? This -- figuring out how to push your work to its highest level -- is absolutely critical in developing a writing career. Everyone is going to come up with their own answers. I've worked for years and have built up a legion of trusted writer and executive friends who can read my scripts at various stages and give me feedback. I use these people very wisely, making sure that I save some of them for exclusively reading later drafts. I also reciprocate by reading their scripts and giving my best comments. These peers are the most valuable tool for judging where your script truly stands. (NOTE: Next week, I'll cover the topic of how to properly critique a script and ways that you can turn the most annoying and snobby writer into a better sounding board - thus helping you to create your own legion of mutant super-readers.)
Other things I do to make sure my script is ready include reading the scripts of already-made movies (available on the Internet or in bookstores). This helps to remind me how well these professional scripts flow, and what the best in the business are doing today. The screenplay form is constantly evolving, and you want to make sure you're up to the standards of the current writers. Sometimes, I'll go out of my way to read a screenplay before I've even seen the movie. By reading these great scripts, you can develop your own inner critic and raise your standards. Start with those two things, and you'll be on your way to creating more finished and compelling screenplays.
Robert Towne once said that "a great script reads like a movie that's already been made." Shoot for that. No transition mistakes. No jarring lines. No scenes that don't contribute. Everything tight and fresh and alive. Your best work on every page. Remember why you started writing it in the first place, and deliver on your original vision.
Back to writing with me. You, too.
Chained to the keyboard,
Grady
P.S. Keep writing - especially those of you who have started the streak of Writing Every Day. E-mail me and update me on your progress. I'm at [email protected]. Remember, next week, I'll write about "The Professional Way to Critique a Script" - I recommend this for everyone, because it can help writers get better readers in their circle.
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