I got rejected today. A project that I have great hopes for and believe in, was turned down by a production company. After writing screenplays for almost 17 years now, I have heard the word “no” quite a few times. I should be used to it.
But you know what? It still hurts.
And that’s ok.
As I sat licking my proverbial wounds, I was reminded of one particular rejection I got nearly 7 years ago. I had entered a script into a contest that featured a copy of the reader’s analysis of the story. I was REALLY passionate about this script. I had a few close friends read it and their reports were glowing. This is one of those precious stories that I just KNEW would leave a mark and would be something special. I eagerly waited for the day when that report would arrive in my inbox.
Then it came. And I was crushed.
I won’t share the whole review with you, but I will share some of the phrases used to describe my story. “the writer’s vision seems like a really bad idea”
“This is a premise without any commercial spin, and is DOA from the predicable opening pages.”
“we’ve seen this film many times before” “this script is dull from page one to page 128 because there isn’t a shred of originality to it”
“it’s difficult to see how rewrites could increase it’s attractiveness”
“The protagonist is developed as weak and nondescript”
“cartoonish… over the top”
“lacks anything remotely showing originality”
“there’s no real pleasure”
“This is a script that will be impossible to market in its present form. No amount of rewrites can turn this into a competitive project in the contemporary marketplace.”
I cried that day.
And for a while, I quit writing. I gave up.
I offered up what I thought was my best work to date and it got absolutely pulverized. I don’t recall what exactly got me out of the fog and allowed me to approach the blank page again, but eventually I sat down and revisited that crushing review. It was then that a tiny bit of light began to break through the clouds. I was so caught up in all the negativity, that I missed a few glimmers of hope. They were few in number, but it was just enough. “The opening is, actually, a terrifically engaging start”
“the writer is accomplished in putting the elements together”
“the amazing leg work that the writer has done in terms of creating a world of veracity”
“it moves along at a great pace, and is full of taut storytelling”
“the plotting is professionally structured, and modulated between action and character development”
“the ending is a fitting and satisfactory end to the preceding storyline”
“You clearly have the talent.”
Hope.
Maybe I wasn’t a lost cause. Maybe I still had something to offer. I could still write.
I went back to the drawing board and slowly, but surely, got back in the saddle- and I’m still riding (writing?) today.
After more time and research I realized that this kind of rejection and disappointment was not unique to me and is a consistent part of this industry. I gleaned a few comforting words from people much more smart, talented and accomplished than me; and in the process, realized that they too have gone through this. “The key to this process is the rejection of rejection. Gird yourself for a lot of refusals before getting that positive response. Remember that every successful writer had to go through the same thing.”– Michael Hauge, Writing Screenplays That Sell
“successful screenwriters finish what they start because they believe in it and are not afraid to fail. Each script is a learning experience.” –Karl Iglesias,“The 101 Habits of Highly Successful Screenwriters”
“Just truly preserve. It’s so frightening how many wonderful writers stopped writing because they couldn’t take the pain of rejection… A writer writes… If it’s just fantasy and the rejection knocks you out, then it should, because it’s not work for the squeamish.” –Akiva Goldsman, “The 101 Habits of Highly Successful Screenwriters”
“I almost gave up once, right before we sold Bill & Ted. I had gone about a year and a half without working… I thought the script was funny, but my agents wouldn’t send it out... I began to think… maybe the script is no good. And at my lowest moment, we found someone who believed in it and it got set up.” -Ed Solomon, “The 101 Habits of Highly Successful Screenwriters”
I wasn’t alone. Virtually every writer that talked about their origin story weaved a tale of rejection and failure. Many still wade through it as only a small fraction of the projects they pitch every get bought. And an even smaller fraction of the ones that get bought, ever get produced. I can do this.
Many have done it before me, and many will do it after me.
What that rejection taught me is that I can still improve. The simplicity of that notion is almost frustrating in that it’s woefully obvious that NO ONE nails their work 100% of the time. So, having swallowed my double helping of humble pie, I got back to work. Being able to compartmentalize the criticism of what is on the page, as opposed to a criticism of me, was vital.
Again, a criticism of your writing is not a reflection of you as a person. Do not take it personally. This is a business.
From there I was able to look at the comments and realized that with a few exceptions, the reader of my script was quite right about many things. I chose to set this script aside and focus on other stories. However, I was now armed with more insights on how to make my stories better. I had been made aware of what some of my weaknesses were; although now, I had a plan on how to deal with it. I made those weaknesses a topic of study and research and tried to get better with each new draft that I wrote. Less than two years after receiving this crushing critique, I sold my first screenplay. Since then I have sold 9 other scripts, with 3 having been produced (or currently in production) as well as 4 stage plays, 3 of which were produced. Fast-forward to yesterday’s rejection.
As I read through the email describing the “respectful pass”, I felt that familiar sting that I remembered from years ago. It still hurt. But now, I know better. Within the respectful pass were some wonderfully supportive comments about my writing as well as an open door to future projects. The criticisms were very valid and some of the comments were things I had actually thought about before, but had decided to go a different route. All this meant that I had something of value. But like any gem hewn out of the earth, it takes a great deal of cleaning, cutting, and polishing before it can really shine.
So with that, I encourage everyone to get your scripts read and take a good long look at their notes. Make those topics a focus of study and see if it’s something you really need to change. The flip side of all of this is that sometimes… they are wrong! Or at the very least, it’s just one of many opinions. After all, it is a work of art and as such it is subjective. No one has a magic solution to writing a sure fire hit every time.
Another thing I’ve learned through my experiences, as well as the words of others, is that there may be a wide variety of reasons a studio or production company may pass on your film. Reasons that has nothing to do with your writing skill. Here’s a few:
Budget- It might not matter how spectacular your sci-fi or period epic may be- if a studio is looking for a small, low budget drama, chances are they’ll never be able to afford to produce your script.
Solution- look for another studio or company that creates higher budget shows or find ways to cut costs in the script. Generally you don’t want to limit your creativity to budget, but if you ever take a writing assignment, chances are you will have to learn how to do it. Find ways to cut down on cast size, locations, crowds, special effects, and night shoots.
Genre- Not all studios serve all genres. Many of them cater to only family films, horror, drama, or any number of other genres.
Solution- Again, do your research and find out what kinds of shows the studio or production company you are pitching to traditionally does.
Slate- You will not always be aware of what other projects a studio or company may be developing. They may turn down your spy thriller because they already got one in development. Or, perhaps they are bidding on a new Intellectual Property (IP) that will bring more fans and security to the investment than a spec script from an unknown.
Solution- “No” might end up just being “not now”. If you really feel like this is the right home for the project, perhaps continue to hone it and try again in a year or so. Of course, the other solution is to investigate others places that might not have filled that spy thriller spot in their slate recently.
Packaging- It’s no secret that films and television shows are expensive. There’s a lot of financial risk involved with the entire process. With scores of films coming out every week and well over 500 scripted shows on television, it can be insanely difficult to get eyes on your project. One way that studios and production companies try to minimize risk is to package projects early by either investing in a property that already has fans (sequels, reboots, adaptations from books or games, etc) and by attaching stars to the show. Both aspects bring a certain level of measureable security and make it more attractive to investors. If your project isn’t an established IP and you don’t bring any prominent names with you, the film can seem like a bigger risk than one that has those things attached.
Solution- This one may be more difficult as you would need to find a way to reach out to name talent and get them excited about your project, and be willing to attach their name to it. (Often times this will take money to do so.) Or, try to option the rights to a piece of IP yourself. This will also usually take money to do so, but if you have connections with other artists or authors, it might be the easier route.
Chances are, many of the critiques your script may receive are probably accurate and things you might need to consider. Don’t be afraid or too offended to give them a try. Obviously you keep your original script saved and safe, but experiment a little and see what it looks like to incorporate some of the ideas the reader has given you.
It just might improve, and so will you. So, whenever you feel like you’ve hit bottom, realize that’s a great place to push off. Resist the urge to take notes personally and to be angry with the reader. Consider all the elements that they might be dealing with beyond just what you have submitted. And keep writing.
By the way… that script of mine that got pulverized- I still think it’s a great story and continue to make it stronger when I’m in-between assignments.