Screenwriting: Competition and the Reality of Script Submissions

From my position as a speaker, consultant, writer, filmmaker, entertainment CEO, and founder of Killer Nashville International Writers’ Conference and the Killer Nashville Network, I often feel authors are near-obsessed with getting their books made into films, writing a screenplay based upon their books, or jumping right in and writing original screenplays to supplement their writing of books. Hollywood seems to be one of the most sought-after endgames for aspiring and established writers, but it is also one of the most challenging industries. It doesn’t mean you can’t break into it, but you must know what you’re up against to prepare yourself.

I’ve worked in all aspects of studio production, from an entry-level worker to an executive of production and development. I have written scripts, had them produced, and have had many options. I’ve doctored other scripts. I’ve written coverage. I’ve worked as a filmmaker, bringing these scripts to the screen. I’ve seen a lot of scripts. Too many scripts. And that’s what I want to talk to you about today.

Every year, tens of thousands of scripts are submitted to production companies, agents, contests, and studios. This is not counting the number of books sent to the same to sell screen rights. The competition is fierce, and it is easy, too easy, to get your work dismissed casually and quickly. There are incredible challenges to make you and your work stand out from the massive onslaught of goals and dreams. The numbers are staggering. Each week, when I worked with the studios, we received hundreds of unsolicited queries and scripts weekly (which we did not read) and hundreds more from legitimate agents. Major screenwriting competitions can receive up to 5,000 to 10,000 entries annually. This is a converse relationship to the number of films Hollywood produces per year, which runs to around 400-600 films annually. Only a fraction of these are spec scripts from screenwriters like you and me. Of these 400-600 films produced, many come from existing intellectual property exclusive of actual film scripts, including books, comics, or remakes, making the chances of ever seeing a production from your script near nothing. The fact that I’ve had so many scripts produced or optioned, knowing these facts, boggles my mind. I say that to say that there is hope for you even in these dismal odds if you prepare yourself with skills and produce works that make someone want to buy them. If I can do it, you can, too.

The reason for so many submissions is the glamor of the screen mixed with the availability (and commercialization) of tools of the trade. Many people think the path to fame and fortune can be found through writing for the screen or seeing your work produced as a film or TV show. True, but I’ve seen fame come and go, lights go on in writers' eyes who get an option deal, and then those lights dim to near death when nothing comes from it. It’s brutal. And fame is fleeting. If you’re making the studio money, you are in. Don’t expect a reply to your email or phone call when you stop. It’s brutal. Charlatans who proliferate this industry don’t help the situation. Unlike other artistic fields, screenwriting has a relatively low bar for entry (though a high bar for success). Most screenwriters or authors who want their books adapted into films concentrate on the low bar. Like writing books, no formal degree is required. Tools like Final Draft are easily purchased. And online platforms allegedly allow writers to submit their work directly to producers or competitions. Not to mention all the screenwriting courses, YouTube tutorials, and books by experienced screenwriters and charlatans alike to inspire and “help” writers write bestselling scripts. It’s crazy.

With this oversaturation, it is easy for a writer and his script to get lost in the shuffle, never having anyone look at the first page, especially if the script is unagented. I’ve estimated that the ratio of submissions to produced films is around 5,000 scripts to 1 produced film. Where you’re eliminated is right from the start. Industry professionals, readers, and assistants are trained and encouraged to weed you out. They do it quickly. When I read, I give the screenwriter the first five pages to convince me to keep reading. That’s five pages with lots of white space. If you compared it to a typed manuscript page, that would be less than 1 page in length and content. So, you have one page to convince me before we move on to the subsequent 4,999 submissions. Most things that make us say no to scripts are easily definable and fixable. Most are unoriginal. They follow tired cliches or mimic successful films currently on Netflix. They offer no fresh content, angle, or take. They have poor structure. They are too long or too short (they should be around 90-120 pages long). The formatting is off. Some are handwritten. They don’t follow the traditional three-act structure so crucial to filmmaking development. And a script might be good…but just not right. It may be well-written but before their time. It may not align with the current market trends. It may be really good, but it doesn’t align with the studio’s branding mission. All these things work against you, though with excellent skill development, flawless execution, and lots of market research, you can overcome these problems and get past the gatekeepers. Oh, did I mention the gatekeepers? Agencies and managers are selective; most only take on a few new clients every year if they accept new clients. Studios rely on these established partnerships and refuse to read unsolicited material (translated, you need an agent – period). And just because your agent sends a script to my old boss, Steven Spielberg, does not mean Mr. Spielberg will read it. Just because you send a script to my old script agents at William Morris doesn’t mean they will read it. All of them have readers who may range from college interns to professional readers. Then, there are levels of readers. After a hundred million years, you may get through all the readers and get to an agent or Mr. Spielberg, saying you live long enough.

So now that I have thoroughly depressed you (I think I’ve even depressed myself thinking about this), those of you who read my essays know what I’m about to do: I’m about to tell you how to bypass the restrictive system and get people to say “yes” to your work.

Create great work. That’s number one. Focus on crafting a well-written, emotionally compelling, fresh, and marketable script. We’ll talk more about how to do this in future essays. Emphasize your originality. Emphasize your unique storytelling voice. Leverage contests and fellowships. Use those wins to open doors. Network strategically and build relationships within the industry by attending film festivals, workshops, or online forums. Leverage platforms to connect with other professionals. Create a great marketing platform. Write a standout logline and synopsis, an elevator pitch that quickly hooks a reader or listener. Use platforms to showcase scripts, where producers and executives actively scout for talent.

Realize this is a business. Much money is spent to produce, market, and open a film. Know that and be responsible. Treat screenwriting and film production as a craft and a business. And unless you’re writing just for yourself, never treat it as a hobby and think something will come from it. Develop both writing and business skills. It’s a labyrinth of a journey.

Lastly, don’t give up. That’s incredibly important. It may sound like in this essay I am discouraging; I’m not; I’m encouraging you to use strategies to overcome the odds. It’s so easy to give up, especially right before your big break happens. Rejection is part of the process for all of us. Use it as your superpower to learn and push yourself forward. Even successful writers often face years of rejection before breaking through. You can overcome your odds by using the strategies outlined here and the ones we will cover in future essays. Know this: writers who refine their craft, build connections, and persist will find success where the other tens of thousands will not. That success story could be you. Tune back in for later posts where we’ll go into more depth about how you can be a successful screenwriter or turn your book into a Hollywood film. Play your cards right, and you may live the Hollywood glamor.