Earlier this week, I posted about how I believe pitching scripts is a state of Perpetual Motion. Yesterday, while finishing a rewrite for a director for a film expected to begin shooting in September, I received a response to an inquiry I made earlier in May. This gig is for rewriting a draft script written by a well-known author and screenwriter; without revealing too much information. I consider it an excellent opportunity to review the script of a person whose previous work includes a 150 million dollar film and several successful television shows.
When feature and television writers are losing their jobs, a realistic approach is to do as many queries as you can and expect fierce competition. Therefore, when you answer an ad, provide the prospective client a significant reason why you're the person for the job. And if it requires squeezing the blood about every markable fact about yourself, don't make the mistake of selling yourself short.
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Great advice, Phillip E. Hardy, Prolifique ("provide the prospective client a significant reason why you're the person for the job"). What do you mean by "And if it requires fluffing your resume, don't make the mistake of selling yourself short"?
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Maurice, I've changed my last statement to squeezing the blood out of every marketable fact about your background. Fluffing was a poor choice of words. My main point is don't sell yourself short. Thanks for pointing that out.
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Way to go Hardy!
I might sell my list of "Rabbi's of Hollywood ppl" for $100,000 cash, or luxury watches, or a ham sandwich ::)
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I like the change, Phillip E. Hardy, Prolifique. You're welcome. Keep posting the great advice.
Dan M: LOL
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Worst than selling ureself short is selling ureself big and then making the job short...I say let the deeds speak for itself....better than any CV anyways...
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Kiril:
That's a lovely sentiment, but you have to secure the job before you can demonstrate the deeds.
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C’est MAGNIFIQUE, Phillip!!!
Isn't that Catch 22 now, Phil?
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Kiril: It's most certainly not a C-22. You're missing my point so let me explain again for your benefit.
The point of Perpetual Motion Post #1 and #2 was:
1) The first post was about bold action and grabbing opportunities. Ones you seek out. Then sell yourself as the person for the job.
2) I also stated that using script listing services is a passive and mostly ineffective method to secure work.
3) When you answer an ad, which I do frequently, present the prospect with a reason to hire you, which may include a differentiation strategy for marketing your abilities. In other words, what are you doing to separate yourself from your competition?
Post #2 addresses the issues facing screenwriters both WGA and non-WGA, which is the fierce competition; and that chances of success are increased by looking for as many opportunities as you can and going after them. For example, I pitched two scripts to prospects yesterday.
Therefore, I will restate my point that if you don't get up to bat, you can't demonstrate your ability to a prospect. The reason I'm working on two projects for two directors now is that I sold myself as the right person for the job.
So no, there's no Catch 22 at play, just experience, and hustle. The catch-22 is an obstacle removed by people who do a better job marketing their abilities.
Cool approach Phil...so, say, I start out "tabula rasa"...what do I say makes me beat the competition? As far as I go, all comes down on "what you had?" "where've u been"? "what you know"? So, me naming this "Catch 22" is not a bad spiral of time loop as people do succeed starting out of a scratch...it's just a method one has to figure out himself as one pushes through...not talking only film industry, but any industry....I started low 4 figures some 22 years ago to come up to steady 6 now...how? Catching 22 :)