05-13-15 UPDATE
JACOB STUART REPLIES TO MY ORIGINAL BLOG POST (which was a Reply to his Original Blog Post on 05-1-15)
Stuart's 05-13-15 reponse follows my original blog post below
JACOB STUART runs a screenwriting job search website, Screenwriting Staffing.
An original blog post he authored appeared on Linkedin with a very provacative title -- "Why SCREENWRITERS may be responsible for the global EXTINCTION of SCREENWRITING as an art form…"
You can find Stuart's ORIGINAL POST HERE
My response to Stuart's Post
I
think there’s some valuable advice in Jacob Stuart’s original post.
Unfortunately,
there’s also a lot of problems.
A
big problem is the apocalyptic-like title he employs
for his post.
On
the one level he probably intended, he has succeeded -- people have made comments. And I'm now posting my reaction to a blog that lured me in with a provocative title.
Unfortunately, after digesting the content of his post, there is no level the title of his post truthfully resonates except as an exploitative
tease. Just to cite one counter fact -- Screenplays are also teleplays, and the
quality of TV writing/production has never been better. Therefore, the idea
that screenwriting as an art form is on the endangered species list is
wrong, total hype.
If the intention by Stuart was to have the rest of his post taken seriously, his title doesn’t help his cause.
But I'm now setting aside the ridiculous, over-the-top title because I did take the content of his post seriously.
And I found even more problems with the content of what Stuart writes.
I
begin with something he is right about, but its a concept he never actually writes about, only infers in his post.
It
is the perception amongst a lot of (non-professional) screenwriters who believe
their lack of a breakthrough/and/or/success has much to do with “access.” Or
to be more accurate, the lack of access to the entertainment industry and how it
generally does business (in the United States) to this present day.
What
Stuart writes about in his post can be summarized as the frustration he feels (and apparently
a lot of his producer contacts share his frustration) with non-professional screenwriters
who don’t have access to the status quo in the entertainment industry, but
won’t do what it takes to get that access. Stuart infers that access to people who
work in the industry (which he is offering through posting adverts by
producers, which he features on his online service, Screenwriting Staffing) is being squandered by non-professional screenwriters who are normally denied access to the status quo. Stuart
goes on to infer that the “Access,” he provides is something the average,
undiscovered screenwriter has not had previously, but does now have (through
his services/and other similar connection opportunities via the internet) and
should be taken seriously by would be non-professional writers looking to get a break and expose themselves to industry professonals.
So,
as far as what I’ve outlined above, I agree with a few of the issues he raises,
including this specific one (which, again he doesn’t actually write about, but
I believe he implies) -- there are
tradeoffs in return for the potential “access,” or opportunity to contact industry professionals. And this opportunity is newly available to
the undiscovered screenwriter.
Access
to whom? Stuart
believes those who submit the adverts he features on his site, and also the
producers he quotes in his post are industry professionals -- Film/Tv/Media
Producers… or Film/Tv/Media Production companies… or some variation of the
former and latter. He believes those he is helping in the search for scripts/IP properties/written material are reputable and industry professionals.
In reference to the above, what I write is an indirect response because I simply cannot say
if what Stuart implies is 100% true, or partially true. But here’s my indirect response
-- there have been writers that have
applied to the adverts featured on Stuart’s site that have found a place on the
map – meaning they’ve found a place on the entertainment industry map, and are
working in some capacity with professional filmmakers in some way.
And
I believe this is great. In general (there will always be exceptions), anyone
who was once an unknown screenwriter that is able to land on the entertainment
industry map in some way, if it comes via an advert that they responded to, a social network outreach that
Jacob Stuart is responsible for, then this is a good thing.
The next question I naturally ask is -- could the landing on the map have occurred in other ways? If the answer comes up as... "No," as I believe might be the case, then one must
keep this under consideration, which I ask the reader to now do, at least until you finish reading my entire post.
Back
to Stuart: In his original Post, he believes there is a problem, and his post seeks
to highlight these problems, but it mostly comes under this general point -- The interaction with the non-professional screenwriters submitting material to industry
producers/production companies (via his online adverts) falls very short in meeting the requirements of the producer/production company
needs.
But
rather than following up his problem with tips about how to
succeed, Mr. Stuart, makes other claims, attempting to expand his throughts into something grander, citing a bigger picture with the process he has been able to witness first hand. And’s
its when he proceeds on this path in his post which is where he runs into huge problems.
Here’s the first problematic quote from his post --
“Most screenwriters will admit that writing the actual screenplay was
the easiest part of the process.”
Stuart's first mistake is his use of the phrase “most screenwriters."
Earlier in my post, I could have chosen to write "most," but I went for the word, “many,” because that word captures all the screenwriters I dare to speak for.
In response to Stuart's quote above, I now speak only for myself, (a professional screenwriter, member of the
WGA).
Actually writing a creative, entertaining theatrical/TV screenplay is the hardest part of the writing process. This is true if you were paid to write it, whether it was produced, and probably more true if what you write ends up getting produced.
It's not even a close race between first and second place (assuming coming in second is selling the screenplay, which I'm not sure I believe is true).
It's not even a close race between first and second place (assuming coming in second is selling the screenplay, which I'm not sure I believe is true).
And here I go venturing out there, speaking for other writers -- I believe there are many professional screenwriters who
would agree with me.
So
why does Stuart write such an absurd statement?
The
answer could be where Mr. Stuart and I find common ground.
I
think he believes his above quote to be true because many screenwriters he
comes in contact with (in the daily course of operating in his business) are
writers, perhaps some are professional, but I'm presuming, many more are non-professional, many who are having
trouble getting a foothold in the entertainment industry.
And because Stuart's daily contact with these non-professional writers might be much larger than the professional kind, it's reasonable to assume his views on the matter have become skewed. Many who write scripts (and are not paid as professionals) end up with screenplays of very poor quality. Therefore, trying to sell a badly written
screenplay is indeed probably the hardest part of what they will do in the screenwriting
process.
Here’s another statement written by Mr. Stuart from his post – “Every time a
screenwriter doesn’t follow simple submission instructions, it pushes the
producer a little closer to the edge.”
As
well as being a professional screenwriter, I’m also a professional film
producer with nearly a dozen films to my credit.
And as a producer, I can tell you what producers like me are like --we are always close to the edge (“Edge” being defined with a
multitude of possibilities that might apply – the producer is on the edge of the mental spectrum; is close to being over-stressed; Is a person by profession
that is Risk embracing; There is a pattern of moral and ethically impaired
decisions).
My
point is this – being close to the edge would be the norm standard
for any industry professional producer (which Stuart is
inferring he’s dealing with). So when Stuart insists that there's a serial situation of many unknown
screenwriters testing the patience of producers by their haphazard material submissions, and that this behavior needs to be red-flagged because it is responsible for pushing producers in mass to be closer to the edge... I think of a quote from a script written by John Milius, (and I’m paraphrasing here) -- we might as well be giving out speeding
tickets at the Indi-500.
Back
to Stuart’s original post: "Now, the screenwriters who DO follow instructions,
and have exactly what this specific producer is searching for, will NEVER get
the opportunity to submit to THIS producer directly via their website – all
because of a few knuckleheads."
I
sympathize with what Stuarts writes above.
I’m a first born (but part of a
mixed family, which perhaps makes me a rule follower, as well as someone who is
equally tempted to break the rules); I’m a producer, and have often operated
with the premise that if I put something down in writing, the intended reader
should be able to follow through with an understanding of my intentions. But as
I’ve learned, its naïve to believe this to play out consistently.
And
similarly, what Mr. Stuart writes comes off not just as misguided, but wholly inconsistent
with what is actually empirically visible every day in the entertainment
business – rule breakers in the industry
are rewarded. Those who take risks, and/or ignore what was asked of them, they
succeed.
Yes,
there are plenty who crash and burn because they break the rules, take risks…
and ignore what was asked of them; but its even just as likely that those who
failed are the ones who played by the same rules, as if those rules were never
going to change; or did what they were told
to do, all the way up to their last order - now fall on your sword.
Stuart
writes: “If a producer is seeking a screenwriter to re-write a script, this
means the producer already has a script – a script they like. Now all they need
is someone to re-write it to fit their personal needs, budget, and cast. They
are NOT looking for a new script. All they want is to bring on another writer
to compliment their project. Simple. Easy.”
The
fact is that there are plenty of projects in active development that have
nothing to do with what Stuart describes above. For example, someone optioned
the original script/source material not realizing how hard it would be to
produce and they need a complete, radical/“page one rewrite.” There are a dozen
other very common reasons why a screenwriter would be hired to do a complete
reworking on a project.
Actually, what is less common is what Stuart
describes/and infers -- a reputable producer/production company with a
greenlight on a project looking for a polish or minor rewrite to proceed
forward to production… and seeking someone answering an ad on the internet to
perform the job.
Stuart
writes: “If I’m wrong, then why on earth would a screenwriter submit a project,
or a different genre, that wasn’t requested? I’m still stumped.”
Jacob Stuart is a smart guy.
I’m not smarter than him.
But perhaps I have more experience in this industry and that’s why I was able to come up with the answer --
Because they are desperate.*
Again, my answer comes from experience in this industry.
My
answer is something that ends up being the go to answer to a lot of similar questions about the
entertainment industry --
Q:
Why did the actor get that horrible face surgery?
A:
Because he/she was desperate.
Q:
Why did the executive green light that piece of shit movie that cost the studio
two hundred million dollars?
A:
Because he/she was desperate.
Q:
Why didn’t the screenwriter walk away from working on the 5th sequel of that
bad B-movie.
A:
Because he/she was desperate.
Q:
“Why on earth would a screenwriter submit a project, or a different genre, that
wasn’t requested?”
A:
Probably because the writer was desperate.
That’s
what trying to break into this industry will do. Or trying to succeed in this industry
will do. It makes you desperate.
Honestly, Mr. Stuart needs to turn his castigating eyes in the direction of the producers who place adverts on the internet looking
for screenwriters or scripts. This is not the way it has ever been done before. And I
believe there are two reasons this is happening now (and on the rise).
One
reason is that the producers who do this… are desperate.
The
second reason, is that the ways things are being done regarding the outreach for creative material is changing.
I
will now go full circle, and reiterate what I wrote in the beginning of this
post. What Mr. Stuart offers in his post is some valuable information -- if you apply
for an advert from a producer – Follow the rules of what is requested. Don’t
act desperate, because it won’t get you anywhere.
And
who knows, you might be answering the ad from a desperate producer whose career
is going up in flames.
I
go to the trouble to write the above because…
I
believe Mr. Stuart, (like RB at Studio 52), are on the forefront of a new shift
in the way things will be done in the industry regarding acquiring material for
production.
Access
has always been an issue, and the Internet has, for a few years now, been the promise
of becoming the great equalizer.
I
certainly hope this proves to be true, because I’m haunted by this one unshakable, consistent
situation that seems to have always been true, not just about Hollywood, but
about creativity in general, and the pattern seems to go back hundreds of
years –
The pool of creative talent, capable of professional work in any field of commercial art has always been about the same size... extremely small.
How
do we enlarge this pool (if indeed it can be enlarged?).
If
people like Stuart succeed, it will only be by truly, deeply understanding how
the game was played before they walked into the cage. And what's truly, deeply happening right now.
I'm rooting for them to succeed if their methods end up increasing the quantity of quality art going out to the masses... and more artists are rewarded
with Fame... Glory... and at least enough money to get them to the next project.
* Update on 05-13-15 a reader of my blog pointed out to me that in the HOLLYWOOD REPORTER that just came out online (dated May 22, 2015) "the REPORT" headline is -- TV Upfronts: Who's up, Who's Down, Who's Desperate
JACOB STUART'S REPLY
To my POST ABOVE
Submitted on 05/13/15
Reader: Please note that the content of Stuart's post reply has NOT BEEN edited, but has been altered for presentation on this blog. All the Bold faced/ital/red highlights are editorial choices made in an effort to be consistent in style with my original post above.
After reading your rebuttal post, it's fair to say you
have made some very valid points. So let me start with this. Since posting this
article last week, I've had 2 "producers", who on the surface, seemed to be very
reputable and wanted to post their “needs” with me. Perfect. After
back-and-forth e-mails and some misguided phone tag, it occurred to me why
nothing was getting done: compensation. Not
their compensation, but the compensation for my writers.
What do my
screenwriting members get paid? Is it upfront, or it on the back-end? I’m not
here to judge, I just NEED details to share with my writers. So I thought on it,
and in some ways you are right, these producers were desperately seeking someone
to write their “scripts” without nailing down any type of agreement (probably
because they were broke or unprofessional), but here’s the thing, they didn’t
make it through… they were vetted and their leads NEVER came to fruition. The 3
examples I use in my article are all very real, reputable industry pro’s. Were
they desperate? I guess that depends on your definition of desperation... but
they weren’t desperate to break into the industry… they already are in the
industry.
I think for the most part, those who are members of my service,
understand full-well what I was saying (that’s the overall consensus I’m
getting). That’s not to say everyone agrees with me though. But for those who aren’t familiar with my site, think of it as a
drive-thru for industry pro’s. These aren’t pro’s who have days, weeks, or
months to comb through material. They need something now, for a number of
reasons. What many of them have is resources and money. What they DON’T have is
time. So if a screenwriter chooses to use my service, it’s in their best
interest to send the proper material requested in a timely and efficient manner.
Your comment suggests that it’s OK for writers to submit improperly because
Hollywood was founded on risk-takers and rule-breakers? I’m not a Hollywood
theologian and doubt I could talk “shop” with Hollywood’s elite, but I do know
one thing. When it comes to screenwriters, risk-taking to me is about writing
content no one wants to “talk about”. Starting a social movement based off of
your words. Getting out from behind the computer and going to places where
industry pro’s congregate… festivals, mixers, bars/coffee shops… anywhere! These
are all very broad and vague, but I hope you get my point. But I think what you
said is the mind-set these writers who don’t follow instructions come from. They
have been told by professors or by seminar “speakers” to NOT follow the norm. So
if society says one thing, do the other! This has now manifested itself in
simple screenwriting searches. If a producer provides their full name and
e-mail, and asks for a specific request via e-mail only… they still get phone
calls! Why? Well, I’ve spoken to these writers, and they all say the same thing:
I thought it would make me stick out. They are right,
it did! But not the way they were hoping.
My
formula to 100 success stories in 2 years is not complicated. The writers with
the best material and/or skill-set, who
follow instructions, get the job. If a writer doesn’t follow instructions, 9
times our of 10 it’s because they don’t have the right content or skills to even
be applying for the job, so they mask it by being “different”... or as you
suggested: “breaking the rules”.
It should also be noted that my site isn’t for the screenwriter
who “can’t break in”, as you suggested. I have a plethora of writers who are
WGA, won prime-time emmys, and have been recognized by the Academy.… I even have
wga-accredited agents and managers who use my services for their screenwriters.
My site is not for the screenwriter who wants to “break in”. It’s also not where
a screenwriter should “end” his/her destination. It should only be used as a
resource in their never-ending journey to screenwriting success. That’s why it
was created. It’s there for the screenwriter who can’t spend hours upon hours
searching for leads during the day. It’s for the screenwriter who’s working on
an assignment at this VERY moment, but is worried about finding their next paid
opportunity when “this” job ends. It’s also for the screenwriter who doesn't
have representation (or their representation lacks contacts), and needs a
friendly and productive place to begin. But most importantly, it’s just another
place, regardless of how much success the screenwriter has had, where a
screenwriter can try to find a home for their script.
I could talk for hours on this subject. So let me try to wrap this
up ;)
Producer’s should expect getting inappropriate submissions when
submitting their info and requests online. That’s a given and risk they are
taking. So for the most part, I don’t sympathize with them. But here’s who I DO
sympathize for: the screenwriter following instructions. Because when writers
become “risk-takers” and “break rules”, showing up on door steps, making phone
calls to the producer’s cell, or submitting polar-opposite material that wasn't
requested, the producer then suspends the search (all
of these things have happened). That producer then spreads the word to other
producers, meaning these “other” producers won’t submit with us. I want to give
my screenwriting members the BEST opportunities available (at least within my
reach). Having ONE screenwriter ruin that IS and WILL always be infuriating to
me. And it’s not something I will ever apologize for. I’m not angry because it’s
hurting my “business”... there will always be “new” leads. No, I’m angry because
I’m a screenwriter myself. And I take my craft serious, and I would expect that
my fellow writers do as well.
A FINAL
THOUGHT. The original article (or rant) was designed to shed light on a very
isolated way of submitting. There are a million and one ways to get your
screenplay “produced”. There are volumes of literature that explain in detail
the tricks to selling a screenplay. And just like in any line of work, a
screenwriter MUST stand out of the crowd (and so should their screenplay). But
when it comes to submitting scripts online through script searches, whether it’s
through my site or a similar site, the producer is ONLY seeking a “breaking the
rules” style of screenplay, NOT a screenwriter “breaking the rules”. The
producer is using this platform and approach because it’s organized, safe, and
quick. So when a screenwriter doesn't follow
basic instructions, making the submission process more complicated, my platform
(and similar sites) loses its original purpose. Do producers always follow
instructions? No way! And that’s why, for the most part, their “request” never
makes it in our system. But if a request does get approved, it’s because the
producer followed our instructions, and in all fairness, they expect (and so do
I) the writer to do the same.
Jacob N.
Stuart
Founder,
Screenwriting Staffing
