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A few years ago I read an incredibly well-written action script as part of our Producers Outreach Program. I heartily recommended it, and it ended up going forward (i.e., getting the three "recommends"). Some time later, I was contacted through our website by someone looking for a writer for an action film. I remembered this script, tracked down who the writer was, and put them in contact with that person. I never thought anything else about it - I do this kind of thing all the time. Cut to this past June. I get an e-mail from someone at a small production company looking for a writer for one of their projects, and this other writer had recommended me to them. I send them my latest script, which generates a meeting with them. Turns out their story editor is a former member of the Network (and a close friend of the writer I had originally helped out). Bottom line, they like my writing, I like their story, and they hire me. It's not very much money - but the project has already been sold and is slated to go into production early next year, so it's pretty much a guaranteed credit. As I write this, I'm nervously awaiting notes on my first draft, which I turned in a couple of weeks ago. Hopefully it will go well. Now, if you've been reading my columns over the years, you KNOW I'm going to turn this into some sort of lecture. Well, not really a lecture - more like an example of how good things can happen to you when you put yourself out there. I would be willing to bet that most of us are happiest when we're just sitting at our computers writing. Because that's the only place in our lives where we have total control. We're creating new worlds, interesting characters, exciting situations, cool dialogue. We have complete autonomy and control over these things, and it makes us feel powerful and whole. Then we finish a script - and at that point we lose control, because if we want to see it made, we have to throw it (and ourselves) out there into the scary, uncontrollable real world and TAKE RISKS. And unless you're a bungee-jumper or sky-diver at heart, chances are you don't like to take risks. Especially with something that you've created from your heart and soul. I used to absolutely hate to take risks (which may be one reason I'm just now getting married :-). I was writing my scripts, doing some work for the Network - but not getting anywhere with my career. Then I took Flash Forward (back when it was just Fast Forward), and I can honestly say it changed my life. By the end of that class, I was cold-calling production companies and pitching my scripts to them over the phone - something I NEVER would have considered doing before. And getting an incredible response! I realized then that the real secret to making it in Hollywood was to make as many friends and contacts as possible. Which is why I decided to run our Competition and ultimately become Chairman. And I've been incredibly fortunate to make many friends and contacts both inside and outside the Network who've helped me along in my career. In fact (and I know many of you have heard me say this): Every advance I've made in my career can be directly traced to my involvement in the Network. Let me repeat that: EVERY ADVANCE I'VE MADE IN MY CAREER CAN BE DIRECTLY TRACED TO MY INVOLVEMENT IN THE SCRIPTWRITERS NETWORK. All my options and sales. My first agent years ago and the literary manager I just signed with. And, of course, my current paid gig. What I'm trying to say is: GET INVOLVED! Sure, you can pay your $75 a year, sit back, come to an occasional meeting, enter the Competition and POP, get your discounts to Daily Variety and Hollywood Reporter. All of that is certainly worth your $75 a year. But if you're really serious about writing… If you're really serious about your career… The absolute best things the Scriptwriters Network can offer you are opportunities for involvement. To meet other writers. Make friends. Make contacts. Become involved with people who can help you get to where you want to go. Because that's really what we're all about. And why we're called a NETWORK.
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