Well, 2025 has been a good year as I/We enter the halfway point of the year. Three scripts written. Two outlines ready to be written and two pitches ready to be outlined. I also, turned eleven scripts into novellas which will be turned into audiobooks. So far, so good...
Now, I just need to sell something.
I need the morale; I need the money.!
I think I've covered most bases to get this done: Wrote award-winning scripts, networked, created book versions, etc.
What else is left for a lowely screenwriter to do?
Any suggestions / insights?
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You find a producer that loves the script as much as you do, try to get it packaged with talent and a director. And then pray that the timing is right lol. Because you can bring a completely packaged and well written script and they’ll still find reasons to pass “this is too similar to what we already have”, etc. that’s pretty much it honestly
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Congratulations on everything you got done this year, Anthony McBride!
You could do what I do to get eyes on my projects. I post my loglines, script posters, quick pitches (two-word pitch, three-word pitch, etc), and pages of my scripts on social media.
Have you been to a Stage 32 Meetup? The Meetups are great for networking. If you don't see a Meetup in your area, you could start your own. www.stage32.com/meetups
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What an incredibly productive year you're having Anthony McBride ! Three scripts completed, outlines ready, and turning eleven scripts into audiobooks - that's the kind of systematic approach that separates serious writers from hobbyists. Your angst is completely understandable though. There's a massive gap between having award-winning material and actually monetizing it, and you're clearly at that critical transition point.
You've Done the Foundation Work - Now It's About Strategic Positioning:
Since you've already covered the basics (quality writing, awards, networking), the next level requires more targeted approaches:
Leverage Your Book/Audiobook Assets:
Your decision to create book versions is brilliant (hard, hard work but smart when you bear it) and underutilized by most screenwriters. Publishers and audiobook success can actually become powerful leverage points when pitching scripts. Executives love projects with existing audience validation and multiple revenue streams already proven.
Perhaps (and some people are going to hate this advice) even take a couple of your favorite "scripts turned novellas turned audiobooks" and create AI-generated videos out of them, then post on YouTube or social media. I've recently seen storytellers (mainly horror and comedy) leverage AI to create creepy and atmospheric or googy, gut-splitting reels/videos that go viral online, which could lead to further opportunities. The videos I've seen haven't even been good either, they've been kind of nonsensical or all atmosphere but they have like 100K+ views for some reason.
Keep General Networking, but also Specific Targeting:
General networking makes many introverted writers cringe. It's uncomfortable at times, boring at others. But the fact of the matter is that constantly being around, becoming known, and having a vibe that people like breeds so many opportunities. It just does. So keep going to events, mixers, screenings, fests, meetups, etc. Just get out there and put in face time anywhere you can. Simply put, if no one knows who you are, they won't know who you are. So continue on in this front because you literally never know where your next connection can come from.
In addition to broad networking, focus on identifying the 10-15 most strategically aligned producers, managers, or executives for each specific project. Research their recent acquisitions, current mandates, and company needs. Then go out to them (via queries, consultations, pitches, events possibly if available) to attempt to make a connection. Quality over quantity in your outreach. Like Cameron mentioned, it's all about finding the right producer who loves your material.
Consider the "Momentum Strategy":
Sometimes the breakthrough comes from packaging multiple elements together rather than selling individual scripts. With your substantial portfolio, you could position yourself as a writer-producer with a slate of projects rather than just someone with individual scripts.
Alternative Revenue Paths:
- Script consulting/coverage services using your award-winning track record. I've personally met dozens and dozens of producers and directors, and of course fellow writers in the last few years consulting.
- Collaborating with newer writers who need experienced partners. Yes, a lot of the time it will be goodwill based, but like mentioned above, you can make a connection by offering your expertise to greener creatives who need a hand.
- Exploring international opportunities where costs may be lower. Globalization is real. Perhaps targeting international markets could open up new opportunities.
- Considering emerging platforms that are actively developing and looking for new, original content to build a library, perhaps in the short, VR, OTT, and Transmedia spaces
The fact that you have this much completed work puts you in a powerful position - you're not just a writer with potential, you're a proven content creator with multiple revenue avenues.
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Pat Alexander Thanks so much for your input. Another avenue for me will be to make video games from some of my scripts. I think this will give me exploitation leverage in working with producers and studios.
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Congratulations on all your accomplishments! Anthony McBride This year will be the year! I can feel it:)
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Congratulations on these accomplishments. I believe you continue and a yes is right around the corner.
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Good luck. If you figure a good way to get there let me know.
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Congratulations, I have also finished the script for the film and am now looking for producers and directors.
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It sure is a marathon. Took me seven years of full time effort to get my first assignment and it was only last month, after thirteen years and four feature films, I got my first big pay check.
My advice is to start in the trenches and work your way up.
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CJ Walley "My advice is to start in the trenches and work your way up." - What do you mean by these words?
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Abdusamad Shafiev, there's a huge issue with screenwriters only looking at what Hollywood's doing and wanting to break in there, right at the top. Failing that, they want to go straight in earning WGA rates for multimillion dollar budget features that star well-known actors and will get released theatrically. Failing that, well, I think most would rather just fail entirely.
There is, however, a huge world of low budget indies, global film production, and short films. Those willing to humble themselves and start right at the bottom, writing short scripts for zero compensation and handing them over to students, can get themselves on an upward cycle toward a career. That's what I did, and I had a pretty good time doing it. There was continually growth and a lot of hands-on learning to be had.
Something I push is to chase the plausible rather than the possible. Sure, it's entirely possible a new screenwriter might get noticed by a top agent, have their script pushed to studios, and sign a lucrative sales deal, but it's highly implausible, and chasing that fantasy can detract from putting in the work where it's far more likely to generate results.
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That's the neat part...
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CJ Walley You are correct, but I think it goes even deeper.
It seems that screenwriting is the only art where people will create their first or even tenth! short story (which is what a script is) and think someone should buy it for a large sum of money. The same person wouldn't likely think that way about a first painting, or the tenth clay pot they turned out.
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James Fleming, yeah, analogies like that are powerful. It's like people who advise simply reading scripts to learn craft. I've listened to music my whole life, it doesn't make me competent as a composure or musician, and it certainly doesn't entitle me to go straight in working at the top.
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GHOST WRITE NOVELS AND BIOS. Then it is word of mouth references.
The requesters will usually not credit you. Egos. But they pay.