Jul 27, 2023·edited Jul 27, 2023Liked by Cole Haddon
I've written the first 8 of 10 episodes of a series I'm trying to sell, as well as starting work on the pith deck. I wrote another pilot that we almost entered into a shopping agreement on, but the production company ghosted us when we asked for some minor changes to the agreement, and my partners have poured their own money into the pitch deck and creating a trailer. I have a feature that's been under option for 5 years (not at WGA option rates, that's for damn sure) and keeps getting pushed back and back, which now that the WGA is on strike, I'm planning to let the option lapse and look for a new home for it. I have another feature that I have people interested in, but they're stupid busy and haven't had time to look at it, I have yet another feature I'm mapping out as well as another pilot.
I have gotten paid a tiny option fee every year, but otherwise haven't made a dime off of any of these MANY hours of work. *sigh*
This is disheartening and is the cursed reality that is Hollywood today. It's truly a shame that so many screenwriters, myself included, get caught up in our dreams and work without pay to get our ideas read for the .001 chance that a producer might read it (after it passes through the intern, the creative development exec, etc).
What's a good way to counter the blow of not selling a screenplay is thinking of the positive: did you improve your writing skills, your efficiency, and ultimately, did you have fun writing it. Hopefully, as discouraging as this is, you still write for the sake of writing. "Don't worry about the outcome and focus on the fun of creating."
I write in many different mediums. Some I write in exclusively for the sake of writing, some I write in because of the things in my life they pay for. It balances out in the end. I've never stopped loving words, which is all that matters, I think.
What I describe happens to writers every day in Hollywood these days. Preparing aspiring and emerging writers for what's coming at them is 75% of why I do this.
Sadly, I identify with this story, but from within the UK industry. It’s become increasingly like the Hollywood you’re describing. I’ve been there or thereabouts (minus the A-list star) too many times. 20 years ago it wasn’t like this, but the last 10 years have seen this kind of practice insidiously creep into the industry here - the Writer’s Guild of Great Britain started their ‘Free is not an option’ campaign in 2015. Time was that a writer could make a living on options and development alone, but that time is long-gone in my experience. The problem here, as in Hollywood, is it’s becoming unsustainable as a profession. That besides the obvious moral issue of blatant exploitation.
Thanks for sharing this. It’s much needed insight into an industry I’ve dreamed of breaking into—even if it makes my head spin.
It still makes my head spin, trust me.
I've written the first 8 of 10 episodes of a series I'm trying to sell, as well as starting work on the pith deck. I wrote another pilot that we almost entered into a shopping agreement on, but the production company ghosted us when we asked for some minor changes to the agreement, and my partners have poured their own money into the pitch deck and creating a trailer. I have a feature that's been under option for 5 years (not at WGA option rates, that's for damn sure) and keeps getting pushed back and back, which now that the WGA is on strike, I'm planning to let the option lapse and look for a new home for it. I have another feature that I have people interested in, but they're stupid busy and haven't had time to look at it, I have yet another feature I'm mapping out as well as another pilot.
I have gotten paid a tiny option fee every year, but otherwise haven't made a dime off of any of these MANY hours of work. *sigh*
Oh, and I don't even have an agent yet
I feel your pain, my friend. I hope all that work gets you noticed sooner rather than later!
Thank you for sharing this horrendous story. I enjoy all your columns!
Thanks, Lukas. I hope they help when they can, inspire when they should, and enrage when appropriate.
I'm taking up sports gambling! Better odds.
Fair.
Big fish love eating little fish..for free^^
Thank you for sharing, Cole! I’ve experienced similar disappointments.
I'm sorry to hear it's happened to you, too, Michael. It's so common these days as to be almost unremarkable at all, I worry.
Thank you for your story.
This is disheartening and is the cursed reality that is Hollywood today. It's truly a shame that so many screenwriters, myself included, get caught up in our dreams and work without pay to get our ideas read for the .001 chance that a producer might read it (after it passes through the intern, the creative development exec, etc).
What's a good way to counter the blow of not selling a screenplay is thinking of the positive: did you improve your writing skills, your efficiency, and ultimately, did you have fun writing it. Hopefully, as discouraging as this is, you still write for the sake of writing. "Don't worry about the outcome and focus on the fun of creating."
I write in many different mediums. Some I write in exclusively for the sake of writing, some I write in because of the things in my life they pay for. It balances out in the end. I've never stopped loving words, which is all that matters, I think.
Sorry this happened. It's good for me, someone who's yet to really put myself or my screenwriting out there, to hear the harsh realities.
What I describe happens to writers every day in Hollywood these days. Preparing aspiring and emerging writers for what's coming at them is 75% of why I do this.
Well thank you so much for sharing everything that you do!
Sadly, I identify with this story, but from within the UK industry. It’s become increasingly like the Hollywood you’re describing. I’ve been there or thereabouts (minus the A-list star) too many times. 20 years ago it wasn’t like this, but the last 10 years have seen this kind of practice insidiously creep into the industry here - the Writer’s Guild of Great Britain started their ‘Free is not an option’ campaign in 2015. Time was that a writer could make a living on options and development alone, but that time is long-gone in my experience. The problem here, as in Hollywood, is it’s becoming unsustainable as a profession. That besides the obvious moral issue of blatant exploitation.