Probably the most popular question that gets emailed at least once a week is how to make it as a screenwriter. and I have news for you all…I’m not really sure I’ve made it. Not that I don’t love my job here, but I’ll tell you I’d rather be screenwriting full-time.
The dream is simple: write a script, sell it for six figures, and watch your name scroll across the silver screen. And do that again every year for the rest of your life.
But the reality of the situation is that even working writers in the WGA, like me, go through ups and downs when it comes to consistency in pay and movie releases.
And outside of that, the vast majority of aspiring screenwriters never see a dime from their work.
In a revealing interview with Film Courage, veteran screenwriter and UCLA instructor Corey Mandell broke down the harsh truth about the “high bar” of professional screenwriting and why even “really good” writers often fail to break through.
Let’s dive in.
How to Have a Career as a Screenwriter
1. The “Good Enough” Trap
I think this is the main reason most people do not make it in Hollywood. I meet so many writers who just want to take a script out that they think is fine.
No one is buying fine. They’re barely buying “great.”
Most writers rely on feedback from writing groups, friends, or even film school professors to know if their screenplays are any good.
While well-meaning, these sources aren’t always in the business of breaking writers into the industry.
That’s because these people DO NOT work in the industry.
Mandell notes that many writers get stuck in the top 1% of talent but still aren’t “industry ready.” They are told their scripts are “amazing,” but they don’t realize that the industry doesn’t grade on a curve.
Hollywood is cold and rigid. No one HAS TO buy anything, so your work has to be good enough to convince them otherwise.
To bridge this gap, Mandell suggests a “reality check”: Hire an industry script reader. These are the people who actually read for studios and production companies. Paying them for an honest, off-the-clock report can provide the brutal clarity needed to see if your script actually hits the professional mark.
They could be from a place like The Black List or another script coverage service.
I wish I had other advice for you, but I think this is pretty good. At some point, you need to break out of your circle to see if someone with real power or taste likes what you’ve done. Money gets you access to these things, and so does networking. You could go to AFF or another writers’ fest to try to meet someone to read it, too, but cash is king.
2. The Truth About the “Big Sale”
Okay, so what happens if you get that big sale?
Even if you write a “pitch-perfect, authentic script,” the chances of it selling are statistically low. We’re just not seeing specs fly off the shelves like they did in the 90s, even if there’s been an uptick in the last few years.
However, the goal of a great script isn’t always a sale; it’s the meeting.
A great script acts as your calling card. It gets you into 20 or 25 meetings where producers want to see two things:
- Are you “crazy”? They want to know if you’re defensive or difficult to work with.
- Are you a “one-trick pony”? Producers want to know if you can consistently deliver at this level.
You’re in there trying to prove yourself, and the great script gets you in the door. The truth is, you have a better shot at getting paid to rewrite something than to sell something. But you still have to prove it.
3. The Three-Script Rule
This is advice I’ve heard before, but it gets highlighted in this video. Mandell shared advice from his agent: a career is rarely built on one script. It’s about resilience.
You’re gonna need three scripts to really show Hollywood what you can do.
- Script 1: Gets you the meetings.
- Script 2: Proves consistency. It’s often easier to get a job (a rewrite or an assignment) after the second script because you’ve proven you can do it again.
- Script 3: If you’ve written three “pitch-perfect” scripts and still don’t have a job, you are either the unluckiest person alive or you are doing something in the room that is turning people off.
This seems pretty harsh, and I think there are extenuating circumstances in modern Hollywood, but this is kind of a good rule to live by.
If you are striking out in the room, I would talk to friends and reps to see what you can be doing better.
4. It’s a Multi-Skill Game
Here’s something I learned a long time ago that has sustained me over the last almost 15 years. It’s not all about your writing. It’s a combination of diverse skill sets:
- The Writing: Crafting authentic, non-formulaic stories.
- The Room: Knowing how to pitch, take notes, and “play well with others.” Being easy to work with and fun to be around.
- Resilience: The ability to keep going when the first (or second) script doesn’t sell. And to ask for help along the way.
The Bottom Line
The reason 99% of writers don’t have a career isn’t necessarily a lack of talent. It’s often a lack of professional-grade consistency and interpersonal skills.
As Mandell puts it, if you can train yourself in all these areas and stay resilient, you are much more likely to end up with a career than not.
Better to be aware of them and to go in armed than not.
Let me know what you think in the comments.