The Ups and Downs Of Being A Screenwriter

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Do you really want to become a screenwriter? Do you know what it takes to be a screenwriter? Do you really understand? Many people have a different idea of what the business is, and don’t have a true understanding of what most screenwriters really do. I believe a lot of people aren’t aware of the truths of the industry, and thought I might share them with you. This post isn’t meant to discourage, only to help you open your eyes.

In this business there’s a very important difference between the Hollywood dream and the reality of things. This is a business fueled by artist, but it is not run by them. There are compromises in most cases that must be made while you walk down this road, and some may not be so eager to do so.

I like to think this blog helps inspire writers of all kinds, but what good is that if you don’t really know what you’re getting into? I have a great post to share with you about the ups and downs of being a screenwriter. The ups are incredibly inspiring, but the downs could be something that may change your mind. A few things discussed are the money you could make, the artistic qualities required, and the work that needs to be done. It’s a good read.

Here is a great article written by Michael Hauge at Writers Store:

Do You Really Want to Become a Screenwriter?

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A message for our local readers

w_officebranding_2018-1487_smIf 2018 has been a tough year for your personal productivity, you are certainly not alone. The world is noisier than ever and making space for oneself in these uncertain times can feel near impossible. For self-generative careers like writing, these are especially challenging times.

That’s why theOFFICE (our physical location here in Santa Monica, CA) exists. Our primary goal is to create a buffer between you and the outside world. We’ve spent the last 15 years learning what makes the perfect workspace — a space that is quiet and distraction-free, with ergonomic seating to keep you agile during those writing marathons; a tranquil space that inspires, allowing you to drop quickly and deeply into the zone and stay there; a space full of other deep-divers just like you, taking the time for themselves, getting the words on the page.

w_officebranding_2018-1713_smWe all deserve this kind of space, even in (and I would say, especially in) noisy times like these. As I type this, there’s only about a two-week wait for membership*. The new year always get busier (with everyone’s resolutions calling) and the holidays will be decimating your productivity before you know it.

If you’re in the area and craving a space for yourself, now is the time. Let theOFFICE be your buffer from the noise.

Warm regards.
Wade
(Partner, theOFFICE)

*Wait times vary and depend on how full the roster is. Please contact us ASAP to get on the list.

Scott Neustadter and Michael H. Weber On Writing

Scott Neustadter and Michael H. Weber were the duo that were recently nominated for having written the Adapted Screenplay, “The Disaster Artist.” This movie is based on the book, which was written about the filming process of what’s known to be the worst movie of all time, “The Room.” If you need some inspiration, just know that even the worst movies can be major successes. Don’t aspire to be the worst though. Please don’t.

There’s a full article on why “The Room” became the major success that it is. It’s a fun read: Vox – The Room: how the worst movie ever became a Hollywood legend as bizarre as its creator

Scott and Michael are well known for writing together. Other movies they’re known for are “500 Days of Summer,” “The Spectacular Now,” and “The Fault in Our Stars.”

Here are a few questions from the interview this week:

First of all, how did you guys discover The Room? Did you see the film in its first theatrical run? Was it the infamous Los Angeles billboard?

That’s interesting. I was going to ask about this: Do you recommend someone see The Room before they see The Disaster Artist?

How did you guys get involved in the project? What was the hook that attracted you?

And here is the full interview:

ScreenCrush: The Screenwriters of ‘The Disaster Artist’ On How To Write Dialogue For Tommy Wiseau

Critics and Audiences

There’s been a lot of controversy over the differences between the scores of “Star Wars: The Last Jedi,” and for good reasons I believe. If you don’t know what’s going on, critics love the movie and audiences feel totally mixed about it. While the critic score is lying at a fresh 93%, the audience score is sitting at much lower 54%. Rotten Tomatoes has come out and said that these ratings are very real, and nothing fishy is going on with them. This disparity can be normal in movies, but what’s really strange here is that critics love the movie far more than the audiences do. That’s not supposed to happen. It’s supposed to be the other way around… isn’t it? I’m going to leave my opinion out of this, because that’s not what I’m aiming for here. If you want to learn more about the controversy, here’s a great article that describes why people are feeling the way they are about the film:

Vox: The “backlash” against Star Wars: The Last Jedi, explained

Now, onto my point. As a writer, if you become successful, you’ll have to deal with critics and audiences. This right here could not be a better example of what I want to convey. A story is a story. The only thing that matters is that you put your heart and soul into it, and that you’ve done everything you can to make it the best you can. At the end of the day the opinions of the critics and audiences are just that, opinions. There’s a whole lot of people out there that love and hate this Star Wars movie. They’re all passionate about it, and many of their points are valid. Who’s right? Every single one of them is. A story can affect every person who experiences it in a different way. Each person might place more emphasis in a different place. It was too cute. It wasn’t cute enough. The jokes were too jokey. Did you see what happened with all that action, and the moment with the LIGHTSABER?? I want to buy this movie just so I can burn it in my fireplace. It was everything and more than I could have dreamed, I’m going to frame it.

What matters at the end of the day is that you are happy with what you’ve written. That’s something to work towards.

In-Depth Look – Lisa Joy

This week marks the last week of our In-Depth series of Emmy posts. I hope you enjoyed reading them and learning about some of the best writers of the year. This week, Lisa Joy teaches us the importance of knowing it’s never too late to get your start. She was on a solid path as a lawyer, but secretly held a love for writing.

Lisa is most well known for having written “Pushing Daisies,” “Burn Notice,” and “Westworld.” Those are some pretty amazing shows. She was recently nominated in the category of Writing for a Drama Series at the 2017 Emmy Awards. If you want to see the full list of nominees and the winners, you can find it here: Emmy Winners 2017

Learn more about how Lisa came to be a writer here: Cosmopolitan – Get That Life: How I Became the Co-Creator of Westworld