The folks at Screencraft (they run the contest that I won earlier this year) recently sent me some prompts / questions about my screenwriting journey in order to cull testimonials from my answers. They managed to find a few uplifting snippets to use in their Instagram / Twitter posts — and kudos to them for that, because even though I made real efforts to be positive, some of these answers feel a little… dark. However, I seem to have arrived at a point in my life/career where young hopefuls ask me for insights and advice, so for what it’s worth, here are the prompts and my answers in their entirety.
- What did you find were some of the biggest obstacles to your screenwriting career goals?
Before I went back to school for writing, I was a freelancer who worked on various shows and events, one gig would always lead to other gigs. You work with people, they get to know your personality and work and then either request or refer you for another job. I got used to that. But after I graduated from my writing program, I took a full time day job that was separate from the industry I wanted to be in, and I think I really gave up an advantage by removing myself from the daily view of people who were in the industry. I see the question come up a lot among early career writers — “Is it better to stay close to the industry, even at the expense of writing time, or to get a day job that lets you practice skills and generate material?” It’s a tough call! At the time, I had reasons for making the choice I did, but purely in terms of career-building, I can see how stepping away from the path had some costs.
- Was there ever a point when you felt most rejected?
If anyone out there is unaware, it’s probably good to know that the entertainment business is the business of rejection. After your dreams get dashed the first few times, I’ve found that all the rejections kind of become a blur. But I’m happy to tell you about my most recent example: I gave a new script to someone who I really needed to like it — a gatekeeper — and they didn’t like it. At all. A big door that I’d hoped would be opened instead slammed in my face. It’s clear in my memory because it was literally a couple days ago and I’m still recovering as I write this. But at the same time, I’m aware that even having a relationship with a gatekeeper who’s willing to read my work and give their honest opinion is a privilege —one that took me years to achieve, and that many people don’t have — so I never forget to appreciate it. A rejection of one’s work is still an affirmation of one’s existence!
- Are there moments when you think about giving up. What motivates you to keep going?
In terms of ever making my living by screenwriting, I’d say I think about giving up six days out of seven. My escape strategies are a running joke with friends—I literally have tabs open in my browser right now for “how to be a UX writer.” But thus far, I’ve kept going, and I think there are a couple reasons why: The first is that I somehow always have one more iron in the fire. Like right now, I have a pitch being considered at a company for a project I would really-really-really like to do, so I’m waiting to see what happens. And while I’m waiting, I’m working on other things, so by the time this project doesn’t work out (or maybe does—this could be the one —manifestations welcome), I’ll have something else to hope for. The second reason is a little more “woo-woo” which is that I deep-down believe that this is where my gifts lie, and that someday I’m going to be part of making something awesome and meaningful, if I can just find my way to it.
- Where are you currently in your career? Anything that you are excited about?
I’m at a place in my career now where it’s easy to feel frustrated, because time passes and I’m still side-hustling to support my writing when I want my writing to support itself. But, I’m also in a place where I once aspired to be: I’ve had representation for a while, and recently added a TV agent to the team! And I’m celebrating my first produced TV credit (with writing partner Paul Seetachitt) — an episode of Creepshow that came out last month called “Time Out.” It’s gotten a lot of complimentary reviews, which is validating. These things give me hope that I’m getting closer to where I want to be.
- What drew you to ScreenCraft and how did the competition help you?
A good friend who knows that I also write short stories sent me the link to the ScreenCraft Cinematic Short Story competition. At this point I’ve largely forsworn writing competitions, but for some reason I decided to enter… and it worked out! I got to meet with one of the judges which was my first one-on-one meeting with a showrunner and was exciting for me. And while I already had representation, the buzz surrounding winning the Grand Prize inspired my reps to send the story out, and I think was key in their decision to add a TV agent to my team, which is something I’d really been wanting for a long time — so that felt like a victory. I’ve really appreciated that Screencraft has a team of real people who have checked in on my progress since the contest. They’ve pushed me to evaluate those things that any writer can and should control — like online visibility and professional outreach — and encouraged me to be accountable and level those up.
- What advice would you give to your younger self as a writer?
Now that I sometimes teach writing, I’ve realized how much I appreciate students who make the effort to show me who they are — I don’t mind if it takes a few minutes after class. It’s enjoyable, and it makes it easier for me to write a recommendation or refer them for an internship or whatever. Being on this side of things makes me look back and think about how often in my life I’ve made the choice to “not bother” someone higher up the ladder than me instead of taking that little risk. If I could advise my younger self (without disturbing the time-space continuum), I would say, “Be braver sooner. You’re a joy, not a burden.” It’s probably good advice for my older self as well.