Should I focus on writing a lot of scripts or just one?

What’s the best approach for trying to break into Hollywood?

The other day, I posted this reader question:

I’m graduating college in a few months and moving down to LA in the summer. By this time I should have 8 full screenplays in various genres. I have very few “contacts” and am interested in developing more — my question is where are good places to hang out to meet agents, readers, producers, etc. if you’re starting from the ground level up?

You can read my response here. This elicited a series of tweets from Charlie Wachtel (@theREALcWACH) which I am reproducing here by permission:

Okay, usual caveat time. Just as there’s no right way to write, there’s also no right way to sell a script. What Charlie says has a lot of truth to it. Having written 8 scripts of average or marginal quality is not at all better than having crafted 1 script of superior aesthetic value. Plus telling a prospective agent or manager you’ve written 8 scripts is not necessarily a good sales point because, as Charlie points out, “it makes you wonder why the writer hasn’t had any success.”

However one would be unwise to make a blanket ruling against writing a bunch of scripts. I met Larry Kasdan (Star Wars: Episode V — The Empire Strikes Back, Raiders of the Lost Ark, Body Heat, The Big Chill) years ago and he said he didn’t sell a script until he’d written 10 of them. John Swetnam, another writer I know, told me the first script he sold was his 17th.

Each writer is different. Some may need to write a lot of scripts to learn the craft. Some may benefit by focusing on fewer scripts and going more into depth in their writing process.

That to me is the biggest takeaway from Charlie’s comments: If a writer is pounding out a spec script every 4–6 weeks or whatever, chances are those stories are either half-baked or exist pretty much on the surface, little to no emotional and psychological depth.

It’s best to find a story you’re truly passionate about, as Charlie notes, and immerse yourself in that universe and in the lives of the characters, then write the hell out of the script… and rewrite… and rewrite… and rewrite.

That said, there is a danger in focusing on one script. I’ve known writers who have told me they’ve spent a year, eighteen months, two years writing a single screenplay. Again, I’m not saying that’s necessarily the wrong way to go… anything can happen in a town as a crazy as Hollywood with a craft as unwieldy as screenwriting.

But in general, it’s probably smarter to spend that year writing 2 scripts, that 18 months writing 3 scripts, that 2 years writing 4 scripts. Basically give yourself 6 months tops to write a script and move on.

In fact, I’ve written about one approach which is, I believe, is the path of least resistance when it comes to securing representation in Hollywood.

Write 3 scripts: Not just one. Not two. But three scripts. Written, rewritten, reviewed by pro readers and/or a strong writers group, revised again, and brought to the best level of readability and marketability possible.

Rationale: If you have 3 scripts in hand, this demonstrates to someone in the business you are not a one-hit wonder, you are prolific, you are persistent, and you have an effective approach to mapping a story and getting it from FADE IN to FADE OUT. Also 3 scripts triples the chances you can find a set of eyeballs which responds to at least one of your stories.

Write 3 scripts in 1 genre: Not 3 scripts in 3 different genres, but 1 genre.

Rationale: It is easier to sell you to the town if you are known as an Action writer, a Comedy writer, a Drama writer, and so on. The fact is, people will put you on lists based on whatever script first gets their attention. Like it or not, this is your brand. And having a brand makes the life of managers and agents a whole lot easier to sell you and your writing services.

Write 3 scripts in 1 genre which is mainstream: Action, Comedy, Drama, Family, Horror, Science Fiction, Thriller.

Rationale: Scripts in mainstream genres as opposed to those that are not (e.g., Western Musical, Animated Horror) are easier sells because they are more likely to represent what studios, production companies, and financiers are actively developing. So much of it is about their comfort level and if you’re up for a writing assignment in a certain genre, and you have credibility in that genre, again path of least resistance.

Write 3 scripts in the $5–20M budget range: Write at least one on the low end and no more than two at the upper end.

Rationale: If you write a script with a budget of $100M or more, there are only 6 potential buyers. If you write a script with a budget of $50–100M, there are virtually no buyers. However if you write a script in the $5–20M range, there are literally dozens of buyers. Even if they don’t acquire your script, your reps can paper the town with it and get you meetings. With a $100M script and severely limited number of buyers… not so much.

Write 3 treatments: In addition to your 3 spec scripts.

Rationale: Assuming you go on the bottled water tour, the first thing they’ll say is, “Love your script.” The second thing: “What else you got?” Having 3 stories worked out in your back pocket makes you that much more marketable.

Write 3 treatments based on your strongest story concepts: And this goes for your spec scripts, too.

Rationale: Along with execution and voice, story concept is one of the most important sales elements of your script. Moreover if you can demonstrate you can generate great story ideas, that makes you all that much more desirable for representation.

1 script. 3 scripts. 8 scripts. However many scripts, you have to reflect on who you are as a writer, how you write, what your goals are, how adept you are at coming up with strong story concepts, and so forth to determine the best approach for yourself. Just consider:

If you spend one or two years writing a single script, you may want to rethink that approach as it’s likely not maximizing your productivity.

If you’ve pounded out eight scripts, but haven’t gotten any action on them, it could very well be you’re not going deep enough into the stories and characters to provide the type of entertainment value and emotional resonance you need to connect with a buyer.

Maybe try a middle ground approach: 3 scripts, 3 treatments, 1 genre, each a low-budget project.

Thanks, Charlie, for your observations. Well worth considering.

How about you, GITS reader? What are YOUR thoughts on the matter?