By Steven Pressfield
Published: October 29, 2014
When I was first starting out in Hollywood, a screenwriter friend gave me some advice that has served me well in all subsequent incarnations.
“Steve, you and I, whether we realize it or not, are competing against Warners Bros. We’re competing against Twentieth-Century Fox and SONY and Paramount—and we have to think like they do. We have to be as professional as they are, and we have to think of ourselves in the same terms that they do.”
My friend showed me his “to do” list. It wasn’t a smudged-up scrap of cocktail napkin like mine; it was a full-on pro printout like something from NASA.
Studios have their production slates, right? I’ve got mine too. Here’s my development slate. I’m working on Script #1 now, but I’ve got #2, 3, 4, 5, and 6 lined up and in various stages of development. If I get a few days, I’ll go to work on them.
My friend showed me the books he was reading, seeking out new ideas and fresh material, and the foreign flicks and exploitation movies and oldies but goodies, films noir and so forth that he had at his bedside and beside his TV. “Fox and Warners have producers on the lot who are always trolling for new material. I do the same. I’ll find it in Mongolia or Zamboanga if I have to.”
When I first got out here to L.A., I’d go into meetings at the studios and as we were wrapping up, one of the execs would say to me, “What else have you got, Jack?” And I’d stare at him and go blank.
You can’t do that. We’re going up against A-listers. When a guy in an office asks you what else you’re working on, you’ve gotta be ready with it right then, ready to pitch it, and ready with Idea #3 and Concept #4 after that.
It’s not that you’re being mercenary or greedy. It’s just being a pro. Buyers wanna know you’re in business. They wanna know you’ve got ideas, that you never stop thinking. You’re a resource to them. Their jobs depend on you and people like you. You gotta be a pro.
One time this same friend and I were sitting in a deli called Brent’s in the Valley when a certain very successful screenwriter came in, accompanied by three gorgeous young women. We both knew the guy. He was a good writer (he had had two hits in a row and had another in the pipeline, so we had heard) who had been a lawyer in a previous professional incarnation.
“Three months ago,” my friend said, “I was pitching a project to MGM at the same time this guy was. He came in with these same three long-stemmed Stanford-educated blondes. His ‘researchers.’ Apparently he doesn’t leave the house without ‘em. But I gotta give him credit. He’s a business. He’s larger than life. He’s got more stuff in the works on his own than half the studios in town, and they know it.”
Posted in Writing Wednesdays
ADDITIONAL READING » ON WRITING
by Mamet, David
Technically this isn’t a book about writing. It’s about Tinseltown and David Mamet’s love-hate relationship with it. But, along with Mamet’s witty and cantankerous evisceration of show biz, Bambi vs. Godzilla delivers masterly and extremely useful insights on getting movies made, surviving criticism, paying the rent and in general surviving Hollywood while retaining some scrap of sanity and integrity. Mamet is not just any writer. When he takes on a subject, you get it in context succeeding context—commercial, aesthetic, moral, ethical, legal, Talmudic, Tantric and Vedic. It’s like reading Thucydides if he’d loaded his stuff into a ‘65 Mustang and split for the Coast.
by Phillips, Larry W.
Papa never actually sat down and wrote a book about writing. Rather, editor Larry Phillips has compiled 140 pages of hard-core Hemingwayisms from the author’s books, stories, and letters. Great material, particularly the fragments of correspondence to Scott Fitzgerald.
by Lukeman, Noah
As an agent and editor, Noah Lukeman read thousands of manuscripts from aspiring writers. He got to where he could tell in the first five pages if a submission was worth his time. In this gem of a book, he tells you the most common mistakes writers make—and how to eradicate them from your manuscript.
by Williams, Nick
A no-nonsense how-to manual and psych-yourself-up kit, for those of us who sometimes need a swift kick in the butt to get us going.
by Steinbeck, John
When he was writing East of Eden, Steinbeck kept a journal—just a few pages each morning, which he’d scribble as a kind of warm-up before turning to the actual manuscript. Fascinating insights into the writer’s life, inside and outside the covers of a book.
by McKee, Robert
I always say that McKee is not only the best teacher of writing I’ve ever seen, but the best teacher of anything. I’ve taken this three-day intensive course twice—and I’ll take it again. Yes, McKee has been spoofed (in the movie Adaptation) and lionized (in a New Yorker profile.) But that’s because he’s the best. Full disclosure: McKee and I are friends. McKee wrote the foreword for The War of Art. McKee teaches this class in cities all over the U.S. and Europe, even as far away as Israel and Singapore.
by McKee, Robert
This is the book that goes with Robert McKee’s Story Seminar. Terrific for writers in all media, but take the “live” McKee first. You’ll get more out of the book if you’ve heard the man deliver his stuff in-person.