Screenwriter Self Sabotage and How to avoid it

12/17/2013

11 Comments

 
Screenwriters often get in the way of their own success by stubbornly insisting on writing unmarketable scripts instead of their more commercial ideas.
They then have a tendency to use these unmarketable concepts as a crutch after their scripts get rejected by producers or studio executives.

After each rejection, they console themselves by saying "That producer just didn't get my work," or "That exec is afraid to take risks creatively."

But the truth is, if you only write stories that you know are going to be hard to sell, then you’re allowing yourself to stagnate as a writer because you have an excuse for why your scripts aren’t selling. You never feel the pressure to improve your writing, because you put all the blame on the executives that don't understand your burning creativity.

But moving forward, you shouldn't give yourself that excuse.

Write a commercial screenplay with a solid concept, and a clear audience. Then, if people still don’t like it, challenge yourself to do better. 

Take responsibility for your writing by giving yourself the best possible chance at success.

Comment Below

Leave a comment telling us about the least commercial script you’ve ever written.

Chelsea and I once wrote one about a dead guy taking a journey through the afterlife, trying to make it into ‘the light.’ We liked it, but not surprisingly, producers didn't see a ton of market potential there.

What's the least commercial script you've ever written?

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Comments

Rolando Vinas link
12/17/2013 3:26pm

I mostly write commercial scripts unless I'm hired to write something specific that isn't commercial. However, I do have a couple of ideas floating in my head that are more personal to me. I'll get them written when the time is right.

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Script Quack link
12/18/2013 2:12pm

If you're being hired to write, it's commercial by definition! Well done, Rolando.

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Derek Rushlow
12/17/2013 3:35pm

Good question, but a hard one. I've been lucky to have written scripts that had some commercial appeal. Whenever I received coverage/script notes on them, the reader(s) always commented that it had great commercial potential... even though that can be largely subjected (unfortunately for me, ha!).

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Script Quack link
12/18/2013 2:14pm

You've got a good eye for commercial viability, Derek. That's definitely a good thing.

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Fred Wohlert
12/17/2013 3:43pm

Probably the one I just wrote. Epic scenes, war, Nazis, exotic European locations, a protagonist forced in a deadly adventure etc. But I question: Can a script ever be unmarketable because of story line? (not formatting). There are many successful movies that pushed the boundaries, thought "unmarketable" too at first. The trick is to find someone who supports your story, with or without thinking outside the box. It's a matter of finding them, they're out there. If it's a story you want to tell then finish it, and try, try, try. If you're lucky the verdict will be made in the theaters by your audience.

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Michelle link
12/17/2013 3:52pm

Ok Matt, so, if I'm getting this right, you're saying I should write my scripts for those who laugh at all my jokes at parties and save the heavy, personal, real life stuff for an autobiography... RIGHT?
CAKE. thanks =D

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Harvey Jacobs link
12/17/2013 4:17pm

I suspect most of us think our scripts are marketable -- unless they are the equivalent of an Andy Warhol movie -- which is why writers' groups and peer reviews are so helpful.

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Script Quack link
12/18/2013 2:16pm

You're right - - writer's groups can be an essential tool as you develop a script. Lots of times it helps to run ideas past the group before you actually start writing, so you can make sure you're committing time to an idea that people can get excited about.

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Geno link
12/18/2013 12:51pm

I disagree that a writer will "stagnate". In fact, all writing is good writing, and at least, it's practice. I know an awful lot of screenwriters whose only real writing comes from blogs and forum posts.

If you write spec scripts, find out which genres sell better than others, if your goal is to sell your material. Historical epics don't sell. Comedies and horrors do. If you're going to write for the market, those would be the best genres. If you're going to write out of passion, write whatever suits you. It's not wasted time. Once you get established, you just might find that producer willing to front you the cash to produce that passion project of yours.

Like Harvey, I believe most of what I write has a market- not always four quads, but a viable market just the same. I always write with this is mind, though, as my lifestyle is dependent upon it. I have "passion project" ideas, specifically one about the Edmund Fitzgerald, but haven't had the time to truly put pen to paper on that yet.

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Script Quack link
12/18/2013 2:23pm

Lots of great points, Geno. It sounds like the point we're trying to make doesn't quite apply to you, which is great.

I hadn't even heard of the Edmund Fitzgerald until I looked it up right now, but it sounds fascinating.

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David Anderson
12/19/2013 12:51am

Let's see now... '300', 'Gladiator', 'Elizabeth'... and Geno says historical epics don't sell?

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